It’s really the era to create new music and fresh music, create your own music. The songs that we sampled are pretty much exhausted.
That was a whole different era, the sample era. What was it like revisiting the music? The songs sounded fantastic in a movie-theater setting-I was expecting them to sound more dated. Not every record is a political opportunity, but when I choose to do it, it’s usually really about the things I’m dealing with, or the things I’m witnessing, the things my people are dealing with that I think I need to speak on. I’m always inspired by life to keep writing, to keep having things to say.
ICE CUBE STRAIGHT OUTTA COMPTON MOVIE
But has the movie rubbed off on you creatively at all? Dre, who just released his first album in 16 years after feeling inspired by working on Straight Outta Compton. My thing is, if you gon’ diss, you should go for the jugular. I just think it’s each person’s approach. I think what struck me about Drake’s first diss track “Charged Up” was how little time it actually spent dissing Meek-it was almost an anti-diss track. A lot of battles have sparked careers-and ended careers. It’s actually the foundation in a lot of ways. It’s always going to have a place in rap. Yeah, they sure do, with what’s going on with Meek Mill and Drake. Do diss tracks still have a place in rap in 2015? diss track from after you left the group, “No Vaseline,” is prominently featured in the movie. It just depends on what you choose to be. Ghostwriting has been here as long as music and singing has been around. Nobody every bought a wack record because they like they how it was put together. All people care about is how the record sounds, not how you put it together. If you’re making a record, it don’t matter what you need to do to make a record to come out good. If you want to be a battle rapper, or if you want to be respected as a true emcee, you should write your own rhymes. A lot of records have been made by committee. It’s always been controversial, but I always think about it like this: if you’re making a record, that’s one thing. It’s the music industry-if you don’t know your business, someone’s going to take advantage of you. You have black guys taking advantage of black guys, white guys taking advantage of white guys and everything else in between. It’s not purely just a white guy taking advantage of black guys. There is a long line of snakes out there. The film also shows how predatory the music industry can be, particularly in its portrayal of music manager Jerry Heller, played by Paul Giamatti. We haven’t held enough officers accountable for misconduct and abuse and, in some cases, just flat-out murder. It’s nothing for us to hang our hat on at all. I knew that whenever we dropped this movie it would be timely because problems still persist, which is really a shame. It just happened to come out at a time when there’s so much other police abuse in the news. That was the key, to really show people the why. We were trying to give people a slice of why we created the kind of music we created. It was mentioned, but it wasn’t really dwelled on. What was it like working on this film last year as the conversation around police brutality reignited?
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