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.F E A R O F A W H I T E P L A N E TInterscope was home of one of rap music’s most successful and re-spected producers, Dr.Dre.The various accounts explaining how Dr.Dre discovered the bleached-blond kid from Detroit have becomepart of the Eminem myth.In his biography of Eminem, AnthonyBozza asserts that assistants brought the demo to Interscope execu-tive Jimmy Iovine, who asked Dre to listen to it.Bozza quotes Dresaying, “I thought the tape was incredible,” adding, “in my entire ca-reer in the music industry, I’ve never found anything from a demotape.” Initially, Dre did not even know Eminem was white, but oncehe discovered that he was, it likely only heightened his curiosity.Whereas the major labels feared that signing a white rapper would be rejected as a gimmick, Dr.Dre sensed an opportunity to make musichistory again.He had recently started his own label and was eager to try something diƒerent.Nothing could be more diƒerent than anoutrageously badass white rapper from Detroit, who had a great flowand a greater sense of theater.Not even Hollywood, the ultimate fan-tasy factory, could have created a wackier idea.Since his arrival on the pop culture stage in 1999, Eminem has beencompared most often to one figure, Elvis Presley.As irresistible as the comparison is the parallels between the men who engineered theirsuccessful launch—Sam Phillips and Dr.Dre—are equally telling.Phillips’s story is one of the great ones in American pop musichistory.In the middle 1950s he was one of the few white men who was willing to record what was then derisively labeled “nigger music.”Phillips believed that the beauty and emotional power of black pop-ular music would one day take the world by storm.But his enthusi-asm for the music was tempered by the racially segregated customs of his day.By law in the South and by custom in the North, blacks andwhites lived in separate neighborhoods, attended separate schools,and even gravitated toward separate entertainment venues.So, when101 [ Pobierz całość w formacie PDF ]
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.F E A R O F A W H I T E P L A N E TInterscope was home of one of rap music’s most successful and re-spected producers, Dr.Dre.The various accounts explaining how Dr.Dre discovered the bleached-blond kid from Detroit have becomepart of the Eminem myth.In his biography of Eminem, AnthonyBozza asserts that assistants brought the demo to Interscope execu-tive Jimmy Iovine, who asked Dre to listen to it.Bozza quotes Dresaying, “I thought the tape was incredible,” adding, “in my entire ca-reer in the music industry, I’ve never found anything from a demotape.” Initially, Dre did not even know Eminem was white, but oncehe discovered that he was, it likely only heightened his curiosity.Whereas the major labels feared that signing a white rapper would be rejected as a gimmick, Dr.Dre sensed an opportunity to make musichistory again.He had recently started his own label and was eager to try something diƒerent.Nothing could be more diƒerent than anoutrageously badass white rapper from Detroit, who had a great flowand a greater sense of theater.Not even Hollywood, the ultimate fan-tasy factory, could have created a wackier idea.Since his arrival on the pop culture stage in 1999, Eminem has beencompared most often to one figure, Elvis Presley.As irresistible as the comparison is the parallels between the men who engineered theirsuccessful launch—Sam Phillips and Dr.Dre—are equally telling.Phillips’s story is one of the great ones in American pop musichistory.In the middle 1950s he was one of the few white men who was willing to record what was then derisively labeled “nigger music.”Phillips believed that the beauty and emotional power of black pop-ular music would one day take the world by storm.But his enthusi-asm for the music was tempered by the racially segregated customs of his day.By law in the South and by custom in the North, blacks andwhites lived in separate neighborhoods, attended separate schools,and even gravitated toward separate entertainment venues.So, when101 [ Pobierz całość w formacie PDF ]