![]() While he’s rarely mistaken for a conscious leader, no one rallies a squad like Dre. Instead, it’s the first eyes-wide-open moment in a solo career that has been undeniably earth-shifting but also socially abstract. At first blush, it is neither masterpiece nor mistake. Instead, his surprise new project, Compton: The Soundtrack, a sort of spiritual companion inspired by the movie that appeared on Apple Music last night, makes him the first rap artist to release highly anticipated albums in four consecutive decades. That album, of course, has been canceled, a fever dream we’ve recovered from all too quickly. A social cipher, a rapper unconsidered, and an apolitical evader, he has existed as the living embodiment of anticipation for an entire generation of rap fans who have awaited and doubted his long-promised third album, Detox. ![]() But Dre is everything - to N.W.A, to this movie, to 30 years of rap music itself - and also nothing. And they often do.Įazy-E and Ice Cube are the other primary figures in Straight Outta Compton - the prophet and the poet, the not-so-canny CEO and the creative soldier. Contractual malfeasance, emotional discontent, unrepentant violence - Dre feels none of it, content to compose thunderous song after thunderous song, as his friends try to conjure the intensity to match his music. Gary Gray’s film is a dreamer, a student of sound ignorant to the tumultuous details around him. The teenage Andre Young we come to know in the first half of F. Dre in the new movie Straight Outta Compton, he’s sprawled in a pile of vinyl, his eyes closed as Roy Ayers’s “Everybody Loves the Sunshine” blares in his headphones, vibraphone mallets splashing against his eardrums.
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