SundanceTV Reality Star Found Dead at 47

23 Jul 2015 | Author: | No comments yet »

Dr. Dre Speaks Out on Suge Knight Charges: ‘Maybe He Was Looking For Trouble’.

During an interview with The Hollywood Reporter to promote the highly anticipated biopic Straight Outta Compton, Universal chief Donna Langley expressed her excitement on doing something nobody in the rap world thought was possible—reuniting N.W.A for a European tour to promote the movie…with Eminem. Em performs on the film’s soundtrack, along with Dre and Kendrick Lamar. “We don’t have anything settled yet with everyone’s schedules,” she said. “But we think it can create a lot of buzz.” Dre and Cube also addressed the incident that occurred with Suge Knight, when he got into a confrontation with Cle “Bone” Sloan, a technical adviser on the trailer, and allegedly climbed into his pickup truck, turned over the engine and deliberately ran over Sloan as well as Terry Carter, a former business associate of Cube.

Dre is speaking out for the first time about the fatal hit-and-run in Los Angeles earlier this year that left one man dead and Marion “Suge” Knight in jail facing murder and attempted murder charges. “I was there. We’re in a photo studio in Hollywood in mid-July, a month before the release of Universal’s $29 million movie telling the (mostly) true story of N.W.A, the groundbreaking hip-hop group that Dre, Cube and three other rappers — Eazy-E, MC Ren and DJ Yella — formed during the 1980s.

Thirty years ago, he was producing N.W.A’s signature song, “F— tha Police”; today, he’s a headphones tycoon who lives in Tom Brady’s former mansion in the Brentwood section of Los Angeles. It’s crazy that this happened during the f—ing filming of the commercial.” Dre is being sued by the family of Terry Carter, the 55-year-old man who died on Jan. 29, 2015, in Compton, California, allegedly after Knight, 49, struck him with his truck. But we’re not including talk shows (we’re not forcing you to choose between Letterman and Leno), current affairs programs (sorry, Colbert, Oliver and Stewart) or daytime soaps (All My Children fans are out of luck). But I was just leaving, so I didn’t know what happened until I was halfway home,” Dre said of Knight’s fatal set visit. “I heard about it over the phone.

A few others are picking around the Caesar salad with grilled chicken at a snack table when suddenly — wham! — there’s a loud popping sound and the place goes completely dark. Ice Cube also spoke of the incident: “It’s the dangerous part of living in South Central,” he said. “Some people don’t care if you’re making a movie or not. His next hearing is Sept. 17. “Music does have the power to move people,” he continued. “So hopefully this inspires young artists not to be afraid to say what they feel, do what they feel, do it how they want to do it and not be subjected to the social parameters that’s out there.

It’s definitely going to keep this situation in people’s minds and make sure that everyone out there knows that this is a problem that keeps happening still today.” In 1986, it was morning in America. Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again.

Their incendiary lyrics (“a young n—a on the warpath, and when I’m finished, it’s gonna be a bloodbath of cops, dyin’ in L.A.”) landed N.W.A (which stands for “N—az With Attitude”) on FBI watch lists, incurred the moral wrath of media crusaders like Tipper Gore and got their music banned from scores of radio stations and record stores. I very rarely read in any coverage of Bernie that he’s a socialist.” In apparent violation of this supposed cover-up, The Daily Beast’s Ana Marie Cox has labeled Sanders an “extremist” “caricature” who amounts to “the Left’s Trump.” The Week’s Damon Linker was also tempted by the Sanders-Trump comparison, calling them “unelectable radicals,” and noting that Sanders “shows little interest in tailoring his message to woo the masses.” Yet, despite his inescapable affiliation with the s-word – long considered a politically fatal liability – and his reported contempt for the masses’ sensibilities, Sanders continues to draw enormous crowds, outpace Hillary Clinton in attracting small donations and generate great enthusiasm, even among groups conventional wisdom doggedly insists will refuse to embrace his candidacy. That these throngs – energized by Sanders’ egalitarian economic advocacy, support for worker empowerment and hostility to what he calls “the billionaire class” – are not noticeably put off by the description of these qualities as socialist, as opposed to merely “progressive,” raises the question: Why doesn’t Sanders avail himself of this political latitude and run on a more socialistic policy program? Of the “12 Steps Forward” in his “Agenda for America,” none diverge from the policies advocated by Sanders’ fellow members of the Congressional Progressive Caucus. In fact, with the exception of “Creating Worker Co-ops,” “Trade Policies that Benefit American Workers” and “Health Care as a Right for All,” none of the items would seem out of place in a stump speech or State of the Union address by President Obama.

For now, this sort of platform constitutes the leftmost bounds of mainstream policy discourse, but there is plenty of room to stretch leftward through advocacy of “non-reformist reforms” – those that, in the words of French philosopher André Gorz, “advance toward a radical transformation of society,” producing a “modification of the relations of power” and thus “serv[ing] to weaken capitalism and to shake its joints.” On the other hand, an increase in the minimum wage – to use one example from Sanders’ platform – yields a host of advantages for working people, and plainly excites the opposition of the capitalist class, but it neither socializes ownership claims on capital, nor fundamentally changes the power relations between workers and owners, nor incites a process that yields equality as reliably as capitalism yields inequality. They’ve been involved in feuds upon feuds, the biggest dating back to 1996, when Dre walked away from his ownership stake in Death Row Records at the height of its ascent, leaving a reported $50 million on the table and infuriating his Death Row partner Suge Knight — bad blood that clearly lingers today. Running on a platform with a non-reformist reform at its core would serve Sanders’ pro-equality political project, even if he should lose to Clinton and her mountains of corporate cash. N.W.A founding member Eazy-E, who started the group’s label, Ruthless Records, and controlled the rights to N.W.A’s music, died in 1995 at age 31 of AIDS. Once one of these off-the-agenda items is named, articulated and argued for – once people are familiarized with a program’s contours, rationale and merits – it is much easier to mobilize support for an idea.

Anybody interested in making an N.W.A movie would have to get her on board first, then the rest of the gang. (“Ultimately, I’m very pleased with the film,” says Woods-Wright, who is a producer on Compton.) The first ones to try were a writer named Alan Wenkus and documentarian named S. People for Bernie (whose open letter encouraging Sanders to run I signed) may hope for an ongoing political organization, such as emerged from the insurgent candidacy of Sanders’ fellow Vermonter, former Gov. The more attention and enthusiasm his candidacy garners, the more favorable the terrain will be for Sanders to pry open the boundaries of policy consideration. Gary Gray, director of The Italian Job — and a South Central native who had been collaborating with Cube since his 1991 solo video “True to the Game” — was hired to direct. It looked for sure as if a green light was imminent. “I sat with Dre for hours, sometimes days, going over what happened,” says Gray. ” ‘Tell me the story again.

Under this program, the federal government would act as the “employer of last resort”; it could hire the unemployed for its own national projects, funnel money to states and municipalities or let communities design their own projects and apply for funding. Tell me why this happened and what were you thinking and what was your motivation and what do you think Eazy was thinking.’ I didn’t want people to watch the movie and feel like they didn’t learn anything beyond what they could find on Google.” But just as it was all coming together, New Line ceased to exist as an autonomous studio. It would magnify worker power by providing an exit from the job market, thereby setting minimum standards for all sorts for private sector employment. It would allow communities that currently rely on prisons to close them without toppling the local economy, thereby enabling the type of mass decarceration Sanders would do well to advocate forcefully, the better to make up for his recent blunder at Netroots Nation.

It would promote ecological sustainability by making full employment independent of the resource extraction sector, by paying for low-emissions employment like elder- and childcare and by providing resources for pollution-reducing infrastructure renovation. It would practically establish a public option for health care, since those availing themselves of the program would receive normal benefits for a federal employee. Ironically, it was Herman, a 42-year-old gay Jewish scribe from Greenwich, Conn. — seemingly a background as far as one could get from the Compton origins story — who finally cracked the story.

Dre, for one, took the additional research in stride. “It had a great potential of being done wrong and f—ing up our legacy,” he says. “Our legacy is something that’s very important to me.” Filming began even before Gray had found his cast. Nor is this some bizarre, far-fetched idea that would hike Sanders’ already uncomfortably high degree of Seeming Kooky: even without inclusion on the agenda of any mainstream political actors, a job guarantee already polls at 47 percent.

Ironically, no one touts the merits of guaranteed public employment more vigorously than modern monetary theorists like Stephanie Kelton, the chief economist for the Democratic staff on the Sanders-chaired Senate Budget Committee. So far, he has given no such indication, but there remain many excruciating months until the primaries; Sanders has plenty of time to earn more fully the label he says he’s not afraid of. Instead, Gray held a nationwide search for an unknown to play Dre; the role went to Hawkins, a classically trained Juilliard actor from Washington, D.C. A scene referencing Cube’s sister, who was killed by her police-officer boyfriend in 1981 — a fact that adds some context to his anti-police lyrics — ended up on the editing-room floor. “We had to make sure we wasn’t going off into those nooks and crannies,” says Cube with a shrug.

But even as important B-stories were being sliced from the final cut, it became clear to Gray and Cube and even Universal that something was missing: Test audiences were confused by Dre’s big split with Knight’s record company in 1996. So, in late June, with two weeks before the movie had to be locked for its August release, Gray filmed a scene in which Dre walks into a room and witnesses Knight (played by R. Marcos Taylor, a stunt man turned actor with a strong resemblance to the real Knight) calmly smoking a cigar as he uses a vicious pit bull to terrorize a cowering man in his underwear. “I was like, ‘What the f— is going on?’ ” recalls Dre of the actual event that inspired that last-minute scene. “I was ready to leave anyways. It’s unfortunate because the movie is so good, so creative, so many talented people involved.” Knight, who has clashed with the law many times in the past — including serving a five-year sentence for parole violations — claims he accidentally ran over the men while attempting to flee the confrontation.

The founders of N.W.A may be respectable members of society nowadays — indeed, one earned $500 million for selling his headphone company, Beats, to Apple, another is a movie star who has shared the screen with George Clooney and Kevin Hart — but the rap group they created 30 years ago still carries echoes from its violent past. You see that the music was born out of a frustration about their surroundings and environment.” Asked if members of law enforcement will find the film controversial, Cube responds sarcastically, “Oh, they’re gonna love it.

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