Universal‘s N.W.A. biopic "Straight Outta Compton" is a bonafide success. The massive $60 million opening this past weekend earned the picture the distinction of one of the best R-rated openings of all time. Critics and audiences have both been kind on the picture, and in general, praise has been coming from all corners. However, one controversy around the movie has been building over the past week, and it’s soon going to become something that neither the producers or studio can ignore. But first, a brief bit of history is needed.
After Ice Cube left N.W.A. in 1989, a beef brewed between the rapper and his former bandmates. In 1990, Fox hip hop show "Pump It Up" went to the set of "Boyz In The Hood" to interview Ice Cube, but before they rolled cameras, producers showed him what N.W.A. had to say about him in an interview shot for the program a few weeks earlier. Obviously, he wasn’t happy, and when host/rapper Dee Barnes sat down with Cube, he was ready to respond. “I got all you suckers 100 miles and runnin’,” the rapper said to his former group, adding. “I’d like to give a shoutout to the D.O.C. Y’all can’t play me.”
N.W.A. did not like how their interview had been re-cut, with Ice Cube’s stinging remarks closing off the segment, and they were furious. In January 1991 at a record release party, Dr. Dre encountered Barnes again, and as described by Rolling Stone at the time, what followed is chilling:
…And Dre himself says: "People talk all this shit, but you know, somebody fucks with me, I’m gonna fuck with them. I just did it, you know. Ain’t nothing you can do now by talking about it. Besides, it ain’t no big thing – I just threw her through a door."
This incident was not unknown at the time, and while biopics always have a tendency to clean up the past, many are wondering why "Straight Outta Compton" omitted this part of the story. It’s even more curious when you know F. Gary Gray, the director of the film, was also the cameraman during Barnes’ now infamous interview with Ice Cube. And as it turns out, leaving the incident out of the film wasn’t just an oversight, but a conscious choice.
The L.A. Times reports that an early draft of the screenplay by Jonathan Herman included Dr. Dre’s assault on Barnes. Here’s how the scene is described in the screenplay according the paper:
As reported by Vulture, at a recent Q&A, Gray said the material involving Barnes was cut because "we couldn’t fit everything into the movie" and he was forced to focus on elements that better "served the narrative." It’s a somewhat flimsy excuse given that the Cube/N.W.A. beef takes up a significant portion of the running time. And one also can’t help but wonder if Dr. Dre — who is a producer on the movie — also didn’t have his say about including this particularly ugly moment of his past.
Speaking more recently with Rolling Stone he’s somewhat apologetic about his history, though he doesn’t address the Barnes beating directly. "I made some fucking horrible mistakes in my life," he said. "I was young, fucking stupid. I would say all the allegations aren’t true — some of them are. Those are some of the things that I would like to take back. It was really fucked up. But I paid for those mistakes, and there’s no way in hell that I will ever make another mistake like that again."
Indeed, Dre’s incident with Barnes is far from the only time he has been accused of being abusive toward women — last fall, Medium detailed his history of being physically violent with women.
As for how the event should’ve been depicted in the film, Barnes herself has some some thoughts, which she shared in a must read editorial piece written for Gawker:
But what should have been addressed is that it occurred. When I was sitting there in the theater, and the movie’s timeline skipped by my attack without a glance, I was like, “Uhhh, what happened?” Like many of the women that knew and worked with N.W.A., I found myself a casualty of Straight Outta Compton’s revisionist history.
In the meantime, "Selma" director Ava DuVernay has been a very vocal supporter of the movie, sharing a series of tweets earlier this week with her thoughts on the movie, but this is the most interesting in the context of this issue: “I saw the cavalier way that women were treated in hip hop spaces early on. Window dressing at most. Disposable at worst. Yep, that happened…To be a woman who loves hip hop at times is to be in love with your abuser. Because the music was and is that. And yet the culture is ours. From depictions of the origins of "Bye Felicia" to watching Cube bring his wife Kim to business meetings. That’s hip hop. A curious thing.”
You can check out DuVernay’s full interview with F. Gary Gray below along with her series of tweets. But sure to also read Barnes’ piece linked above.
When your 82 year old grandmother wants to go see STRAIGHT OUTTA COMPTON for her birthday, you know something’s going on. Damn, @FGaryGray!
— Ava DuVernay (@AVAETC) August 15, 2015
I saw @ComptonMovie last night w/ friends at the Baldwin Hills Crenshaw Plaza in South Central with a beautiful, alive, invested audience.
— Ava DuVernay (@AVAETC) August 16, 2015
Invested because many of them, like me, were there. Teens at the very time and in the very place depicted on screen. It had better be right.
— Ava DuVernay (@AVAETC) August 16, 2015
And damn, they got it right. Under @FGaryGray‘s brilliant direction + @MattyLibatique‘s gorgeous cinematography, I was transported back.
— Ava DuVernay (@AVAETC) August 16, 2015
I saw the militarized Batterrams again. Rolling up our streets like invaders in a war. My friend asked, "Is that real?" Yep. That happened.
— Ava DuVernay (@AVAETC) August 16, 2015
I saw the cavalier way that women were treated in hip hop spaces early on. Window dressing at most. Disposable at worst. Yep, that happened.
— Ava DuVernay (@AVAETC) August 16, 2015
I was in the street during the Rodney King Uprising. After that unjust verdict. Feeling anger. And community. And fire. And love. Happened.
— Ava DuVernay (@AVAETC) August 16, 2015
I remember the truce. So when that shot of red and blue bandanas tied together flashed on screen? Wild applause in my theater. It happened.
— Ava DuVernay (@AVAETC) August 16, 2015
The music of my youth and how it came to be and why it was what it was. We rapped along, clapped, laughed, cried. For all that has happened.
— Ava DuVernay (@AVAETC) August 16, 2015
All the stifling of our voices as young black people in that place at that time while a war was going on against us. @FGaryGray captured it.
— Ava DuVernay (@AVAETC) August 16, 2015
To be a woman who loves hip hop at times is to be in love with your abuser. Because the music was and is that. And yet the culture is ours.
— Ava DuVernay (@AVAETC) August 16, 2015
From depictions of the origins of "Bye Felicia" to watching Cube bring his wife Kim to business meetings. That’s hip hop. A curious thing.
— Ava DuVernay (@AVAETC) August 16, 2015
But for all the terrific acting, solid production design, swoon-worthy cinematography and fab costumes + hair, one sequence brought a tear.
— Ava DuVernay (@AVAETC) August 16, 2015
I leaned forward in my seat and put my hands to my face and gasped. As did many around me. Someone shouted, "HELL YEAH!" This sequence…
— Ava DuVernay (@AVAETC) August 16, 2015
Sunday on the ‘Shaw. I can’t tell you what it was, what it felt like. You had to be there. @FGaryGray gets you as close as you’ll ever get.
— Ava DuVernay (@AVAETC) August 16, 2015
Hundreds of black young people cruisin’ down Crenshaw. The raw energy. The cars. The brothers and sisters. The majesty of it all. A tear.
— Ava DuVernay (@AVAETC) August 16, 2015
It was maybe a one-minute sequence in the film but it all came rushing back. This film did that for me on multiple levels. It’s fantastic.
— Ava DuVernay (@AVAETC) August 16, 2015
Congratulations to @FGaryGray and all involved. Another classic now under his belt. Your craft and care is on full display. Bravo, brother.
— Ava DuVernay (@AVAETC) August 16, 2015