Author Topic: G-FUNK - New Documentary Film - (Warren-G)  (Read 3854 times)

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G-FUNK - New Documentary Film - (Warren-G)
« on: April 03, 2017, 04:55:34 PM »
Everybody is in it apart from Dre of course, would of been nice to hear his views on the sound/style he perfected.

'G Funk': Film Review | SXSW 2017

 Warren G co-wrote, produced and composed some of the music for this debut documentary by 22-year-old director Karam Gill.

Everyone knows a few things about the long-standing hip-hop rivalry pitting West Coast vs. East Coast, but what about the West Coast vs. itself?

In the informative and somewhat hagiographic documentary G Funk, first-time director Karam Gill explores both the origins of the most essential trend in West Coast rap and how one of its foremost creators had his career temporarily sidetracked at the hands of a despotic and ruthless music executive. It’s a rags-to-riches (or is that gin-to-juice?) tale of fame, misfortune and fortune centered around producer Warren G, the late, great rapper/singer Nate Dogg and the still-going-strong Snoop Dogg — three kids from Long Beach, Calif., who, after cutting demos under the name 213, would go on to change the face of hip-hop music forever.

After the biopic hit Straight Outta Compton and the success of rap-umentary series like Netflix’s Hip-Hop Evolution and Vice’s Noisey, this conventionally made and highly detailed crash-course in all things G-funk (the G of course stands for “gangsta”) could land on VOD outlets looking to cash in on an ever-popular brand of rap whose influence is still very much felt to this day.

Everybody but Dr. Dre himself is on hand in G Funk to talk about how the hip-hop style that emerged out of the Los Angeles area in the late 1980s with gangsta rap sensation N.W.A, and then hit its heyday (and payday) in the early ‘90s with Dre’s The Chronic and Snoop Dogg’s Doggystyle, with both albums put out by the Death Row Records label founded by Dre, Suge Knight, Dick Griffey and lyrics alchemist The D.O.C.

The latter is the only one from that group to speak on camera here, and he offers up several insights into how things worked behind the scenes, including the writing process used on some of Snoop’s biggest tracks and a rather brutal assessment of Knight’s musical abilities, stating that: “Suge wouldn’t know a hit record if you took a Parliament-Funkadelic album and slapped him in the face with it.”

Indeed, the film describes how George Clinton’s P-funk music of the 1970s is the most direct ascendant of the G-funk style, with producers like Dre and Warren G sampling tracks from that era to produce the slower, groovier style that would differentiate West Coast rap from the faster, more aggressive beats coming out of New York at the time. One interviewee explains that the two different sounds were really born out of two different lifestyles: In New York you’re always on the run or taking the subway, so the music quickens to that pace, whereas in L.A. you’re always riding (or low-riding) around, which is why the beats by Dre and G have that laid-back flair.

But while Dre (who is Warren G’s stepbrother) and Snoop Dogg quickly went platinum with their debut records, G and Nate Dogg (cousin of Snoop) were sidelined from the whole Death Row breakthrough, even if the two of them were an essential part of the team. Suffice to say that while Dre takes a bit of the blame here and Snoop tries to honestly describe how bad he felt about the whole ordeal, it’s absolutely clear that Knight — who is currently in jail for killing someone with his pick-up truck — is the real culprit.

The Death Row debacle would have been a sad end to a short-lived career had Warren G not met Def Jam Records executive Paul Stewart, who would give the rapper a rare second chance by signing him and eventually releasing the hit “Regulate” – a song that could be considered the ultimate G-funk track, and one that would deservedly put G and Nate Dogg at the top of the charts while helping to revive Russell Simmons’ then-failing Def Jam label.

Simmons is one of many music heavyweights interviewed here, with legends Ice Cube, Ice T, Too $hort and newbies like Wiz Khalifa rounding out a who’s who in hip-hop royalty. For his first feature effort, 22-year-old Gill does a decent job cramming all of the talking-head interviews, not to mention archival footage and a few cheesy (and perhaps unnecessary) dramatizations, into an efficient 87 minutes, with kudos to editors Andrew Primavera and Mark Andrew Hamer for providing a clear chronology and narrative thread. In the end, there’s little doubt that Warren G, who co-wrote and produced the film while also composing the soundtrack, is meant to be seen as the true unsung hero of G-funk, but it’s a title that seems 100 percent earned.

Production companies: G Funk Productions, Chavez Bros. Productions, Omega Point Films
Cast: Warren G, Snoop Dogg, Ice Cube, Russell Simmons, Ice T, Wiz Khalifa, Too $hort
Director: Karam Gill
Screenwriters: Karam Gill, Warren G
Composer: Warren G

Regulators...Mount Up! Annette K's Meet Up With G FUNK's Warren G and Director Karam Gill

It was a clear black night, a clear white moon
Annette K was downtown, for another interview
G FUNK is the film, the doc she had just seen
Now she's on her way to talk with Mr. Warren G....

See what I did there? I had to. I have literally had Regulate stuck in my head for weeks now. After watching Karam Gill's documentary G FUNK during SXSW this year, the song has been on a constant loop in my noggin. I hesitate to call it an ear worm, however, because Regulate. It holds up so well, and Gill's directorial debut finally sheds light on the musical phenomenon led by Warren G and the late Nate Dogg in the 90's. Needless to say, I jumped on the opportunity to interview the director and artist the day after their festival premiere and after party. From 70's and 80's house parties where funk was king, to school yard rap wars and mentoring/tough love by Warren's step brother Dr. Dre, all the way to the east coast/west coast drama that unfolded throughout the 90's, G FUNK chronicles not only the beloved "gangster funk" sub genre, but also provides a fascinating take on the most notorious era of rap and hip hop. So, check out my chat with the film makers about encapsulating such an intricate tale in cinematic form.

Annette Kellerman: Hey fellas! Thanks so much for meeting with me today to talk about your film.

Warren G: Oh hey, you were at the party last night.
Karam Gill: Where you at the screening last night?

Kellerman: Actually, I watched a screener because I had another obligation last night. But I was able to go to the after party.

Gill: You gotta see it in the theater! Because the bass in the score- you gotta hear it in a theater.

Kellerman: Yeah, I love to see any rockumentary in the theater for that very reason- plus it's just more fun to watch with an audience. But unfortunately that's just the way it worked out this time. Hopefully I can make it one of the other screenings at the fest, but I wanted to be sure and catch you guys while you were still in town. So, first off I want to know how this whole project came about? Warren, did you have the idea and then found Karam, or Karam did you have the idea and approach Warren?

Warren G: I had the idea bottled up for a long time- at least 15 years. I was just trying to find somebody who could put the story in movie form for me. I met Karam in Orange County at The Observatory, and they were filming. So they said, can they film me? So I said, alright. Cool, so they took my number and they filmed. Then he emailed me- texted me- a little video, some clips of what he did, and I was like you've got to roll with me. Let's go! From there, that's how it all started.

Kellerman: So Karam, that must have been pretty surreal for you as a fan.

Gill: Yeah, it was crazy. I think when we first met I was 19 or 20 at the time, and I told my buddies in college, "Yeah, I'm starting to do stuff with Warren G and tour with him and stuff," and they were like (jaw drops- everyone laughs).

Kellerman: Warren, how did it feel to look back at all of this footage and photos from back in the day, and then hear all these other artists talk about how much of an influence you've had on them and their music- even their lives. How did that feel to take it all in when you saw the final cut of the film?

Warren G: I feels good, ya know? Just to let me know that all the hard work paid off. I'm well respected in the industry, and people love my music. It felt really good. I might not have showed it that much, but it felt great. Trust me. I'm not one to just jump up and say, "Yeah motherfucker!" (everyone laughs)

Gill: That will be at the next Q and A.
Kellerman: Speaking of all the archival footage, can you talk about putting that all together? How did you find all of it and go through it?

Gill: Warren connected me with a guy who had two tapes.

Warren G: More than that!

Gill: He gave us two tapes.

Warren G: He's lucky I don't sue his ass. (big laughs in the room) He charged me for my own footage, that bitch! He charged me for my footage that I paid him to film of me overseas and here. He's got tons of footage, but he can't do shit without it unless he calls. So, I needed the footage and was like fuck it, I'm gonna give this motherfucker some money. Fuck it. But, fuck you. I still feel like that. Fuck you. You were my homeboy, and he turned into something else. He turned into this money hungry motherfucker over my shit, ya know? I understand you filmed it- I paid you to film it! Ya know, I never saved any of my tapes. But it's cool, I ain't trippin', I ain't gonna bash him...but (laughs all around the room).

Kellerman: Not at all, not at all (more big laughs). So you had these tapes...

Gill: Yeah, Warren connected us to this guy. We got those two tapes, and we pulled all the selects together and sent them to Warren.

Warren G: I still want to kick his ass.

Kellerman: I don't blame you! I would too.

Warren G: And all my homeboys- they all want to whup his ass.

Kellerman: He better just hand over some tapes.

Warren G: It's a serious archive- lots more. Tons of shit.

Kellerman: Well at least you had some of it to draw from. Aside from the archival stuff, I loved how you used dramatizations- Warren did you have a lot of creative input, for instance, in the flashback sequences from the house parties or other sequences from the 70's and 80's?

Warren G: Yeah, I did. It was all a part of telling the story. Me and Karam were talking- like it'd be dope if we made it like a movie at the same time. Ya know, reenactments. Him being such a great director, he took the vision of what I said and nailed it. To a T. I was like, goddamn! [The sequence with] that kid laying on the floor- that's what the fuck I used do. Just like that on the floor! The only thing that crushed me so bad- and hopefully I can still try to get it to edit it in, I'm gonna dig and try my hardest to find it- the picture, I got the picture of me laying just like the kid. I've got a real picture of me at that age laying just like that with my hands behind my head with the headphones and all the records around me. Exactly like that. That's what's so crazy about it. He nailed it to a T. Down to the carpet.

Kellerman: Down to the shag! They were beautiful sequences, but it also helps the film to not just be a talking head documentary.

Gill: Yeah, it was fun. With a traditional documentary you usually have verite style and you're following people around and whatnot. With this, we wanted it to feel like a movie, and the logic was that once the archival kicks in- like the Chronic era- there's no more reenactments because that's when it gets real. But this fantasy land of them growing up, there's no footage of that. It's almost like imaginary, so that's why the reenactments fit so well in that section.

Kellerman: Was pretty much everyone on board with the film? I mean, Dre is noticeably absent. Was that intentional on your part, or did he just not want to go there?

Warren G: It wasn't intentional, he's just busy. We were keeping it moving, ya know? I would love for him to get in on it, but we gotta keep it pushing.

Kellerman: Can't wait around for anyone, even Dre.

Warren G: Hopefully we may be able to cut him in there- that would be dope, but we got a vision. We got our vision that we have to move with just like he's got his vision with what he's doing. It's all good. There was still a lot of love that was shown to him, a lot of homages paid to him in there too. Ya know, that's the motherfucker who taught me how to sample, and I just used to watch him. I still feel like the little kid when I'm around him. The little kid (looks up, nods his head), like, uh huh, okay.

Kellerman: Is there any word on distribution for the film?

Gill: Uh, you'd have to ask those guys (points to a group of producers at the other end of the room). I don't know, we're figuring it out.

Warren G: We got a lot of people interested. Very interested. This movie has the potential to be just as big as the NWA movie. Just as big. It's bringing you back to that classic feel, that classic vibe of how everything went. Telling the untold stories of what people always wanted to know. We had to edit a lot of shit, because if we put in some of the shit...

Kellerman: I was gonna ask what all had to be cut.

Warren G: Oh, it would be World War ten around this motherfucker. Ya know, I'm the type of person, I'm never just totally slamming somebody if I'm involved. Like I said, there was a lot in there that really could've set it off, ya know? It's all good. It's there, you just gotta read between the lines.

Kellerman: Well, that wraps it up quite nicely because I think they're kicking me out already! Thank you so much for taking time this afternoon to sit down with me to talk about G FUNK.

Warren G: Thank you.

Gill: Thanks

And so ended my much anticipated interview with Mr. G FUNK himself, Warren G and director Karam Gill. There's no question in my mind that this film will be finding its way to a screen near you very soon, so definitely be on the look out for this highly entertaining slice of modern music history. Thanks so much for reading.

Rebecca Elliott

aka Annette Kellerman

Warren G & Director Karam Gill Dissect Their New Star-Studded Documentary 'G-Funk'

From the streets of Long Beach to stages worldwide, the new film, which premiered at SXSW this weekend, gives a behind-the-scenes look at the rise of a genre.

The first scene of G-Funk, the new documentary written and directed by Karam Gill about the seminal early 1990s West Coast hip-hop scene, which premiered Saturday at SXSW, opens appropriately at the beginning: with Parliament-Funkadelic's iconic track "Flash Light" and the familiar voice of Snoop Dogg. "One thing about magic," he says, "When you're making magic, the ingredients sometimes don't come with instructions. You just gotta know how to put that sh-- together."

G-Funk, for the uninitiated, was a style of hip-hop that emerged out of Los Angeles in the early 1990s, using classic funk samples chopped up over hard-hitting drums as a vehicle for the West Coast's rising gangsta rap scene and which would become one of the most successful sub-genres hip-hop has ever seen. And it emerged, like all enduring musical movements, almost completely organically.

"Parliament-Funkadelic and all the other groups that contributed to psychedelic funk, it was a lifestyle for us," Warren G, the rapper/producer whose 1994 G-Funk classic "Regulate" featuring Nate Dogg became an international sensation, told Billboard last week in a phone interview. "We couldn't go nowhere without it: at picnics, at our homes, on the bus going to football games, everywhere we went. It was just around me my whole life."

In the film G-Funk, Warren G -- who also produced the movie -- serves as the central character, with his career arc forming the narrative of the documentary as it tackles the subgenre's role in bringing hip-hop from, according to the film, a $600 million industry in 1990 to a $10 billion industry today. And while the likes of Snoop Dogg's Doggystyle and Dr. Dre's The Chronic are widely considered the standards of the style these days, G-Funk makes the case for Warren's central role; or, as The D.O.C. put it in the film, "Without Snoop, there is no Chronic. Without Warren, there is no Snoop."

G-Funk chronicles Warren and Snoop's early days in the hip-hop trio 213 alongside fellow frequent collaborator Nate Dogg, their contributions to The Chronic and Snoop's subsequent ascension into superstardom with Doggystyle, and the ensuing rise of Suge Knight and Death Row Records, which took Snoop, Nate and Dre under its wing. Left behind without a deal, Warren found his way to Def Jam, the traditionally East Coast label run by Russell Simmons that was (and remains) a key company in hip-hop's legacy, where he released "Regulate" and took off as a solo artist in his own right.

Along the way, the film captures revealingly honest interviews from Warren, Snoop, The D.O.C., Simmons, Ice Cube, Kurupt, Daz Dillinger, Ice-T, Too $hort, George Clinton, Deion Sanders, Wiz Khalifa and DJ Premier, among others; the interviews are so comprehensive that the only glaring omission among those still around today is Dr. Dre, who is represented through archival footage and interviews from the time. And while the scope of the documentary eventually grows to include the legacy and effect of the subgenre as a whole, its biggest achievement is the unflinching tale it tells of the behind-the-scenes drama, euphoria and relationships that took West Coast G-Funk to stages and stereos around the globe.

"This documentary is probably so important because G-Funk is three dudes: singer, rapper and producer," The D.O.C. says toward the end of the film, referring to Nate Dogg, Snoop Dogg and Warren G, respectively. "And from that friendship spawned the careers of a whole bunch of people, and made a whole bunch of money for a bunch of people. And there'll never be three dudes like these guys ever again in music. As it should be."

Ahead of the documentary's premiere at SXSW this past weekend, Billboard spoke with Warren G and director Karam Gill about G-Funk, success, regrets and the enduring legacy of the movement as a whole.

Interview begins below.

Why did you decide to make this documentary?

Warren G: We wanted to tell the hip-hop culture and the world about what G-Funk did for hip-hop on the West Coast and music worldwide. Just wanted to tell the story of a genre that's not a genre; it's not legally documented as a genre, but it is a genre in everybody else's eyes.

Karam Gill: When I was 19 or 20, I was still in college and I met Warren backstage at a show. At the time, we were just shooting photos and just hanging out, Warren I connected back stage, one thing led to another and I ended up touring with him. When we were on tour, he would always talk about all these incredible things about his life, all these little anecdotes about things that he went through, and after a while we got together and I was like, "Look, man, there's an incredible story here that's never been told and the world has no idea how instrumental you are in hip-hop." Eventually we started developing and now we're here. Through the writing, pre-production and editing I'd say we've been working on it for a little over a few years.

The documentary opens up with Parliament's "Flash Light." Warren, obviously funk music was a big part of your career, but how big was it for you growing up?

WG: It That's all anybody used to play in the neighborhood and at the neighborhood parties. That's why it stuck with me so much; Parliament-Funkadelic and all the other groups that contributed to psychedelic funk, it was a lifestyle for us. We couldn't go nowhere without it: at picnics, at our homes, on the bus going to football games, everywhere we went. It was just around me my whole life. And just to be able to pay homage to the funk, we added that into the documentary because we had to make this documentary as best we could and incorporate all the elements of what made me who I am and the things I was going to before I was Warren G, to becoming Warren G, to now being a voice in hip-hop. Parliament-Funkadelic, Roger Troutman, Cameo, the Isleys, everybody, it was all funk to me, and I wanted to try and create something, a different sound, but still call it funk and have those elements in it. So that's what we did.

One thing that struck me was how relatively quickly it seemed, at least in the documentary, that you guys went from rapping around the neighborhood to becoming legitimate superstars. Did it feel that quick at the time?

WG: We paid our dues; some of the stuff we talk about, some of the stuff we don't, but we went through a whole lot, man. From the street part all the way up to getting into the club that Rodger Clayton provided us to give us our platform to get our buzz up. It wasn't just overnight, we paid a lot of dues for years. We didn't have no other way to go but up, because we was at the bottom already. It was either that or be dead or in jail.

There are so many great interviews in this documentary. Which stand out for you?

WG: Man, everybody was on point, but for Russell Simmons to say that if it wasn't for G-Funk he wouldn't have had the money to support acts like Jay Z and Foxy Brown and Redman and Method Man and even LL Cool J; he said G-Funk saved Def Jam.

KG: Warren, he said you saved Def Jam.

WG: That's what he said, and that was very important for people to know. Because if you look at it, it wasn't just Def Jam, it was Violator, it was Interscope, it was Universal, all those companies, I contributed to making all of them successful. And a lot of people didn't know that, you know? But they gonna know from this documentary.

KG: Snoop told it how it was and he didn't hold back anything and gave a really firsthand account. He was probably the closest person to Warren in the documentary through this whole film. And I just felt like Snoop is he's always perceived as this kind of character where he's always dressed up in these kind of crazy clothes and looking so wild, and this is probably the first time you ever see him on camera where, you know, we interviewed him at 9 a.m. at his house. He had just got finished playing basketball. And he looks like a wise, Yoda-type figure that was just telling it how it was. He just kind of woke up and did the interview. It humanized him.

Snoop also spoke about the deal he signed with Death Row and how it wound up leaving Warren behind; it seemed like he had some regrets about how it went down.

WG: I mean, anybody who was put in that situation would feel the same way, but we wasn't feeling like that. Like he said in the interview, "If you make it, we make it." He made it, so we made it, you know? So it all panned out, it was all pretty much like a blessing in disguise. And we're still friends to this day. Most guys probably would have been enemies or mad at each other, but it wasn't like that. And I never gave up on our relationship, period, him or Dre or D.O.C. or anybody that was connected with [Death Row], even though I went through what I went through on that journey in the early years of my career.

What were some of the challenges in pulling this documentary together?

WG: Getting everybody to do their interviews. [Laughs] I called everybody personally and told them this was mine, this is me, this is not some Hollywood [people] trying to use me or use my story. And they all said, "As long as it's your sh-t, what do I need to do?"

I didn't go to one interview because I didn't want to be there [and have] them say what they say just because I'm there, something nice or something. I'd see it later once it got edited. And the stories all matched up. We all got interviewed in different places and at different times and nobody knew what the questions were gonna be for themselves or anyone else, and all the stories all matched up. That's how you know that this is all 100 percent authentic; nothing is watered down, this is all real. And it's also an important tool to teach the new generation about what it took and the things that we went through in hip-hop. And it's giving you the story of us being around Death Row back then, and coming up off the end of N.W.A.

KG: I think remaining authentic and organic [was a challenge]. The toughest part was just structuring the interviews in a way where you got exactly what you need from each character in exactly which sections that you needed them in the documentary, without it feeling forced. We never wanted to have a narrator saying, "This happened, then that happened." This is a true story that's so known in the industry that we wanted it to just flow seamlessly. And I think that was difficult in writing the questions and preparing the story flow to make sure that it made sense and was coherent throughout and there wasn't any major story gaps that needed to be filled in with something like a narrator.

WG: You pretty much getting a movie that's what G-Funk did for the West Coast and hip-hop culture, and it was all in the same era [as N.W.A] at the same time. The end of one era and the beginning of a new era, which changed the game for Dre. It opened up new doors for Eminem to be signed, for 50 Cent to be signed, even the new cats, Anderson .Paak and Kendrick Lamar. All those guys are off the family tree of what we created. Any time an artist come up under Dre or Snoop or me or Ice Cube, any of the guys from that era, that's all from a tree that was planted from N.W.A, Eazy-E and Dr. Dre and Ren and Yella and D.O.C. I'm a branch off that tree, and I got limbs that created a whole 'nother branch, too. Now everybody who came up off this tree is a superstar and an icon.

So that's what it did, that's what it was, and still ain't nothing changed. We're still creating dope music. The soundtrack to this documentary is gonna be incredible, it's gonna be all the people who I always wanted to work with in music, you know? Without other people cock-blocking the situation. Now I can work with Snoop without having to get him cleared or anything, 'cause we grown now, we independent. I can hit up Dre and we can work together, we can create. So the album is gonna be sick, along with the documentary. It's all gonna match up.

Did anybody surprise you with what they said?

WG: That question brings me back to Russell. Him being from the East Coast and having a West Coast guy pretty much to save the whole company, for him to lay it down like that and not be one of those guys that was like, "Nah, that motherf---ker didn't save us, we did that." For him to be honest about that whole thing -- 'cause he got rich, honest to God, because of it [Laughs] -- it just let me know he's a real guy, he's got a good heart and he didn't try to sugarcoat anything.

At the end of the documentary, The D.O.C. says that G-Funk is three guys: Snoop Dogg, Nate Dogg and Warren G. What did it mean for you to hear him say that?

WG: It meant a lot, man. Because you had all these guys with different styles, but all the styles was dope and different and incredible. It changed the game for music, and that's something that will never be done again. We created a genre, just by doing G-Funk. And I was turned on to G-Funk by Above the Law, so I don't want to take anything away from them because they took me in as a pup. But what I did was take it worldwide and make it international and make it into something. Before, it was just gangsta funk. But I turned it into something with my music. I branded it. It's incredible, man, just to be a person who was involved in something that will never happen again.

Why do both of you think that G-Funk still resonates the way it does?

KG: I think G-Funk commercialized hip-hop. Especially with Warren, Snoop and Dre and all the stuff that they did, white America for the first time started buying hip-hop albums. And they had done it before with the Beastie Boys, but it was never to the level of... Doggystyle debuted at No. 1 on the pop charts. What they did with that sound, with the melody and whatnot, if you look at guys like Drake, they're singing on all their songs and rapping. YG, all of his songs have funk bass lines. And like Russell said, most of these artists don't even realize it. I just think all those elements are still popular and I think hip-hop has been commercialized because it crossed over to white America and the pop charts. It became pop.

WG: It was good music. It was successful music. And every artist that you're hearing out there right now, they got a piece of it. You didn't have rappers tryna sing with melody while they're rapping; that's G-Funk, that's me, that's Warren G. There was guys before me that was doing that, but these guys today, they get that singing melody along with their rapping from us. Like when you listen to Snoop, when he's rapping, you're gonna hear a little melody, you'll hear something in there that differentiates him from the next artist.

Now a lot of the artists have that in their music, and they've got heavy bass lines and heavy drums with a sweet melody up under that -- that's G-Funk. Chords, strings, melody, G-Funk: where rhythm is life and life is rhythm. That's gonna bring them all the way to the top; if they stay in that life, they're gonna be successful.

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« Last Edit: April 03, 2017, 05:05:42 PM by The Predator »


Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #1 on: April 03, 2017, 11:18:25 PM »
The big question is, are we getting unreleased Nate Dogg material to go along with the movie release

Dogg Ly Dogg

Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #2 on: April 04, 2017, 09:45:26 AM »
And when it's gonna be released? Sorry I dont want to read the whole thing above...


Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #3 on: April 04, 2017, 11:10:39 AM »
Can't wait to see this. It's kind of messed up that Dre didn't have time for Warren though. Above The Law should've been on this too. I hope Warren is really workin' on the soundtrack and it has a G-Funk vibe to it.
« Last Edit: April 04, 2017, 11:21:38 AM by Okka »

Jamal Ginsberg

Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #4 on: April 04, 2017, 12:26:25 PM »
Can't wait to see this. It's kind of messed up that Dre didn't have time for Warren though. Above The Law should've been on this too. I hope Warren is really workin' on the soundtrack and it has a G-Funk vibe to it.

How cunty of Dre to not feature in this as he owes so much to G Funk. Whatever the beef he has with Warren G is it must go back a long ass time and yet still sit front and centre in his mind.


Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #5 on: April 04, 2017, 03:28:39 PM »
I don't think they have beef, but it always seems that Dre is too busy or not interested to work with Warren. I remember reading some interview with Cold187Um/Big Hutch from Above The Law and he said that Dre used to treat Warren G like a dog back in the days or something like that.

The Predator

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Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #6 on: April 05, 2017, 01:05:18 AM »
Dre's got his own doc' on the way, maybe he will briefly touch on G-funk in that -

Cant recall Dre ever talking about G-Funk in any interview, only heard him mention it once on DPG's Represent (0:29)

<a href=";index=3&amp;list=PL1EA658D9993C45D5" target="_blank" class="new_win">;index=3&amp;list=PL1EA658D9993C45D5</a>
« Last Edit: April 05, 2017, 01:24:22 AM by The Predator »

Jamal Ginsberg

Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #7 on: April 05, 2017, 03:28:11 AM »
I don't think they have beef, but it always seems that Dre is too busy or not interested to work with Warren. I remember reading some interview with Cold187Um/Big Hutch from Above The Law and he said that Dre used to treat Warren G like a dog back in the days or something like that.

Sounds like beef to me? From the jump he's been real off brand with G Dub and appears to have punked/given him the cold shoulder at every single turning so this is just the latest in a long line of slaps to the face from Dre. It makes you wonder what went off between them way back when, maybe Dre is pissed Warren cleared that OG Next Episode sample or something equally petty.

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Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #8 on: April 05, 2017, 06:33:45 PM »
Dr.Dre was never a G-Funk fan... FACT


Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #9 on: April 06, 2017, 12:00:59 AM »
Dr.Dre was never a G-Funk fan... FACT

Has he actually said that or are you just assuming this 'cause he isn't in the documentary?

Jay Wallace

Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #10 on: April 09, 2017, 05:47:35 PM »
Sounds like some of you are building drama off speculation.

Mista Rosa

Re: G-FUNK - New Documentary Film - (Warren-G)
« Reply #11 on: April 22, 2017, 11:06:09 AM »
When is this releasing ? Coming with a soundtrack I hope.
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