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ConcertFix is thrilled to present an extraordinary musical experience - an orchestral rendition of Dr. Dre's iconic 2001 album. This unique concert event captures the essence of Dr. Dre's legendary hip-hop tracks, reimagined through the powerful symphony of an orchestra. Experience the unforgettable beats and rhythms of tracks like "Still D.R.E." and "Forgot About Dre" as they are transformed by a full symphony orchestra, creating a fusion of classical and hip-hop music that is both innovative and captivating. This orchestral rendition of Dr. Dre 2001 is not just a concert, but a celebration of music's ability to transcend genres and touch the hearts of listeners in unexpected ways. Don't miss this opportunity to witness a groundbreaking reinterpretation of one of the most influential hip-hop albums of all time. Join us for an evening of music that promises to be as unforgettable as the album itself.

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How Dre Forgot About Dre: The Story of ‘2001’

In the late 1990s, Dr. Dre needed more than a hit. He needed to reinvent himself. His follow-up to ‘The Chronic’ allowed him to do that while changing the course of rap history—and papering over the more troubling aspects of his past.

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I still can’t shake the goosebumps I get when I hear those keys. You know the ones: that murderous mob-movie piano, clinking as it’s methodically built out by a lone cello and mournful violins, then by electric bass and drums so crisp they sound pulled from the soul of the Korg Triton machine they were produced on. “Still D.R.E.,” the first single from Dr. Dre’s 2001 , is an antihero’s theme, the music Denzel Washington’s bad cop Alonzo Harris flips on before his panoramic tour of L.A.’s underbelly in Training Day . Twenty years later, even though the myth of 2001 has worn off, the song is still transportive. It’s cinematic and immersive, which is exactly what Dre intended: Coming off of three years in the wilderness, Dre needed more than a new sound. He needed a new story.

“Since the last time you heard from me I lost some friends / Well, hell, me and Snoop, we dippin’ again / Kept my ear to the streets, signed Eminem,” he raps. It’s not a lie, but it’s certainly not the truth; Dre’s version of the period of time between leaving Death Row Records in 1996 and 2001 ’s triumph in 1999 excludes a series of excruciating personal and professional setbacks that tell a more complex story of who Andre Young really is. “Haters say Dre fell off / How? Nigga, my last album was The Chronic, ” he scoffs on the same song. It wasn’t, actually, but the stakes were so high for Dre to rebound from his real second album—1996’s soulless Dr. Dre Presents... the Aftermath , which announced his intention to step away from gangsta rap—and the rocky start of his new label that he felt compelled to bend the truth. 2001 , released 20 years ago on November 16, had to be more than an album. It had to reassert Dre’s place atop of rap’s hierarchy while also cementing, and smoothing over, his legacy. 2001 , a big-budget, tightly controlled film, had to create a myth bigger than the man itself.

It worked. Growing up in L.A., where he remains omnipresent, I was captivated by Dre’s mystery—and the lore surrounding this comeback album in particular. The draws of 2001 ’s story are numerous: There was the cathartic reconciliation with Snoop, the discovery of Eminem, the introduction of an unprecedented space-age sound, the blend of West Coast legacies old and new, the massive commercial success that followed. At the time, I didn’t realize that it sounded too perfect to be true, that maybe 2001 was not just a mythical gangsta rap album, but also a Dre rehabilitation project.

I know now what’s real and what’s not. But 2001 nonetheless still has a hold on me, and I sometimes find myself believing the myths about Dre, and this album, that I obsessed over as a teenager. The fact remains that what he accomplished with 2001 was almost alchemy: Somehow, Dr. Dre, the man who had already shape-shifted into and out of the pioneering sounds and high-stakes dramas of N.W.A and Death Row, reinvented himself yet again, this time at 34 years old, and changed music in the process. He made people remember only what he wanted them to: a version of history that ignored his violent assaults of several women. Over the course of one album, Dre shaped his—and hip-hop’s—future. How the hell did he do it?

Dre’s that action hero who walks out of an explosion unscathed; he’s Houdini underwater, wriggling out of a straitjacket right when you think it’s too late. I don’t know if it’s guile, luck, or a combination of both, but when you’ve managed to survive as long as Dre has, it doesn’t really matter. He’s an escape artist and a damn good self-preserver. In 1991, at the peak of N.W.A’s popularity, Dre quit the group due to the poisonous financial disputes between its members and the group’s manager, Jerry Heller, who was backed by member Eazy-E, and found himself with nowhere to go. To make things worse, he was still signed to Heller and Eazy’s Ruthless Records. But then Dre’s friend the D.O.C. introduced him to Suge Knight, a 300-pound bodyguard turned businessman with a knack for getting people out of contracts. Dre and Suge quickly formed Death Row Records, and, as 1992 was bleeding into ’93, with black L.A. still reeling from the riots that erupted after Rodney King’s brutal beating at the hands of the LAPD, Dre released his debut album, The Chronic . Firing shots at Eazy-E and the police in equal measure, and introducing the world to G-funk with his protégé Snoop Doggy Dogg riding shotgun, Dre was back and looking for blood.

A musical block party indebted sonically to George Clinton’s P-funk and thematically to Dre’s experience living in a dangerous, early-’90s Compton, it’s a spotless masterpiece. It put the West Coast on equal footing with the storied East and established what would become Dre’s signature, one he had begun developing near the end of N.W.A : the eerie, mosquito-in-your ear synth that danced over every track and instantly became synonymous with L.A. rap. The Chronic elevated Dre from N.W.A member to hip-hop celebrity producer nearly overnight. It spent eight months in the Billboard top 10, and Dre piled on 11 months later with a sequel of sorts, Snoop Doggy Dogg’s infectious debut album, Doggystyle , which set the record for the fastest-selling hip-hop album in history. On the backs of these two records—plus the Above the Rim soundtrack and Tha Dogg Pound’s snarling debut, Dogg Food —Death Row became an institution. In 1996, after bailing him out of jail, Suge and Death Row released 2Pac’s seminal two-disc album All Eyez on Me , which sold over half a million units in its first week and featured contributions from Dre, Snoop, and the rest of the label.

Ceding his 50 percent stake in a wildly profitable Death Row, Dre narrowly escaped the East Coast–West Coast beef that ultimately consumed Suge and Co. to form Aftermath in March 1996, leaving Snoop behind and bringing with him not a single longtime collaborator. And as a result, the West Coast split between those still on the Row and those who left, with Snoop’s cutting off contact with Dre and eventually moving to Master P’s New Orleans–based No Limit Records. The final blow to the Death Row era came seven months after Dre left the label, when 2Pac, who had fallen out with Dre, was shot and killed. He left behind a final album, The Don Killuminati: The 7 Day Theory , which lobbed numerous disses toward Dre .

Throughout the N.W.A and Death Row periods, Dre the public personality remained unfinished. He rarely wrote his own raps, and, as a result, the more colorful aspects of his persona were shaped by his circumstances and collaborators. Friendless, searching for a new sound, and attempting to establish a label as big as the one he had left, Dre released his second album, Dr. Dre Presents... the Aftermath , on November 26, 1996. Bloated, boring, and uneven, it’s at times unlistenable. It didn’t help that the initial Aftermath roster, featuring West Coast legends King Tee and RBX, boasted some of the most anonymous rappers and singers this side of Reno with names like “Jheryl Lockhart” and, literally, “Miscellaneous”; the album also gave Dre just one solo song, the limp “Been There Done That .” It didn’t stand a chance. Trashed by critics and fans alike, Dr. Dre Presents... the Aftermath threatened Dre’s entire career. Dre came up short again in 1997 with The Album , the debut project of the supergroup the Firm , which was composed of Nas, AZ, Foxy Brown, and Nature. The album hit no. 1, but was dismissed as too pop-centric and lacking chemistry. “That point of my life, musically, it was just off balance,” Dre said in 2018 . “I was off track then and trying to find it. It was a period of doubt.” If Dre’s magic touch wasn’t permanently gone, he knew it was missing. It was time to start from scratch, but it wouldn’t happen overnight.

Then came a miracle. Later in 1997, Jimmy Iovine, who ran Aftermath parent label Interscope, played Dre the demo of a white rapper from Detroit named Eminem. His maniacal, horrifying, multisyllabic rhymes would later fit uncannily well over Dre’s production. Within minutes, Dre knew he had something special—it was that simple. Dre was saved yet again.

After months of highly productive studio sessions with an unpolished but focused 26-year-old Marshall Mathers, Aftermath released Eminem’s debut, The Slim Shady LP , on February 23, 1999. The album shocked listeners across the world and went four times platinum. It made Eminem a superstar, gave Aftermath its first hit, and, more subtly, marked the start of Dre’s new sound. Gone were the sticky, warbly bass lines, big drums, and hypnotic stank of G-funk. What emerged instead was West Coast rap stripped down to its basic components, stretched and slowed and narrowed with ominous, sparse precision. SSLP ’s “ Role Model ” is 2001 ’s most obvious precursor, and it’s the only track on the album that Dre coproduced with a young upstart from Virginia named Mel-Man, who would be instrumental in 2001 . Around the same time, Dre and Snoop reconciled. No Limit Top Dogg , Snoop’s fourth album and second for No Limit, released on May 11, 1999, featured his first collaborations with Dre in nearly five years. The Dre-produced “ Buck ’Em ,” with its alien synths and Kill Bill –style guitars, is proto- 2001 , and the Xzibit-featuring, Dre-laced posse-cut “ Bitch Please ” got the gang back together again. Armed with a new superstar, a new coproducer, and a crew of old collaborators, Dr. Dre was finally ready for his next episode .

The first sound you hear on 2001 is the THX Deep Note crescendoing and rumbling like an earthquake. It’s a fitting, on-the-nose introduction to one of the most cinematic rap albums of all time: Throughout 2001 , Dre creates a highly curated noir L.A. soundscape, complete with skits, whirring helicopters, bar chatter, and whizzing bullets. The THX note is also, in a way, an asterisk—this is a movie, not real life. “It’s all entertainment first,” he said to the The New York Times , in response to his change of heart after denouncing gangsta rap on “Been There Done That.” “Any person that listens to these records and wants to imitate them is an idiot.” The message is clear: 2001 is Dr. Dre, not Andre Young.

But for all the posturing about the line between reality and entertainment, lyrically 2001 feels remarkably real. It’s a testament to Dre’s many ghostwriters, but there’s an urgency in Dre’s rapping that makes it clear this isn’t for fun. The chip on his shoulder, the raw desire to reclaim his throne, was not just for show. If The Chronic was a daytime cookout, 2001 is L.A. at night, blending house parties and drive-bys, reminiscing and thirsting for blood. The album draws a dark portrait of Los Angeles, where at any moment you might get robbed, shot, or killed, whether by the police or a stick-up kid looking for a thrill—a free-for-all war zone where sex is perpetually available and women are pimped, discarded, and fucked with little regard to their humanity.

“ The Watcher, ” 2001 ’s first song, is a snarling, paranoid introduction to the new Dre: a seen-it-all, weather-beaten warrior who’s been doubted too long. “Things just ain’t the same for gangstas,” Dre begins, sounding weary. It’s a persona he adopts throughout the album—a veteran who has outlasted them all. “Nigga we started this gangsta shit / And this the motherfuckin’ thanks I get?” he asks later, bewildered. The production on “The Watcher,” like the rest of 2001 , is the culmination of years of experimenting: It’s fermented, stark G-funk filtered through the noir of L.A. Confidential , complete with crisp violin plucks, delicate piano, low horns, skulking bass, and pulsing drums. The trademark high synth is still there, but instead of dominating songs, like The Chronic ’s “ Let Me Ride ,” it lingers in the background, an eerie callback to simpler times. Dre had hinted at his new sound on those earlier Eminem and Snoop tracks that same year, but no one was prepared for what 2001 held in store. Even now, 20 years later, it somehow sounds futuristic.

Throughout 2001 ’s 22 tracks, Dre and Mel-Man reinvented what hip-hop could sound like. Instead of old funk records, this time around Dre incorporated French songs from the 1960s , several TV and film scores, and a bevy of R&B licks without compromising 2001 ’s nocturnal core. The album is a statement in simplicity, orchestration, and scientifically precise execution. “Xxplosive,” one of 2001 ’s best beats, flips the first few bars of the classic Soul Mann & the Brothers instrumental “ Bumpy’s Lament ” from the Shaft soundtrack and pairs it with triangle-twinkles and drums so solid that Kanye stole them to help find his own sound early in his career . “The Next Episode” prominently takes David Axelrod and Dave McCallum’s “The Edge” and pairs it with trembling, reverberating drum hits and a massive, endorphin-generating build-up. “Big Ego’s” and “Still D.R.E.” incorporate producer Scott Storch’s bone-chilling keys and Mel-Man’s gurgling bass, while “Fuck You” and “Light Speed” ooze synths so restrained they feel on the verge of petering out. Anchored around stop-and-go drums , “Some L.A. Niggaz” is spookily empty until the chorus, when a lone, mournful Dre synth line flutters above the beat with the grace, and foreboding, of a vulture slowly circling a fresh kill.

On the lyrical side, 2001 shows off a stable of legends, upstarts, and randoms. They united under Dre’s hawk-eyed watch to make 2001 a layered, constantly surprising feature film. The sound had changed, but The Chronic remained—a few of its architects, along with the generation they influenced, picked up on 2001 right where they left off, with Kurupt, Snoop, Xzibit, Knoc-Turn’al, and Nate Dogg each appearing multiple times and anchoring the album. And then there’s Eminem. In 1999 there was no one like him. His sprawling verses on “What’s the Difference” and, famously, “Forgot About Dre,” are just mesmerizing, equal parts performance art, battle rap, storytelling, and raw charisma. Fitting with the 2001 narrative of Dre’s improbable return, Eminem ferociously defends his mentor’s legacy, threatening to shoot doubters if they “talk like The Chronic was lost product” on “What’s the Difference.”

Dre melded the veterans’ hardened, old-school West Coast swagger with Eminem’s feral raps and Mel-Man’s stripped-down beats, but he wouldn’t have done it without the help of a rapper named Hittman. A virtual nobody before he met Dre, Hittman raps on 10 of 2001 ’s songs and has writing credits on two more, including “The Next Episode.” In a way he’s the narrator of Dre’s tour of L.A. at night, illuminating conflicts, histories, and characters, and popping up enough that when he does, you feel centered. In high school, I was so consumed by 2001 ’s story that, on its 15th anniversary, I sought out and interviewed him; he had disappeared almost completely in the years following. “I played the role of gravity,” he told me. “So, no matter what the other emcees chose to speak on in their verses, I always brought it back to the subject matter at hand with mine.” He dominates two of the best pure rapping songs on the album, the mournful highlight “ Big Ego’s ,” and the shit-talking “ Bitch Niggaz ,” and even gets his own solo track on “ Ackrite .” As for the randoms, there’s Dallas’s Six-2, a nasal-voiced then-23-year old who came referred by Dre’s old friend the D.O.C. and who steals the show on “Xxplosive.” There’s also Ms. Roq, the only woman featured on the album, whose ferocious, iconic verse on “Let’s Get High” remains one of the best moments on the album.

2001 sold over half a million copies in its first week and ultimately was certified six-times platinum. It won a Grammy for “Forgot About Dre,” which, before 2001 ’s release, Dre and Eminem performed triumphantly on the Saturday Night Live stage. Six months later, Dre, Snoop, Eminem, Ice Cube, most of 2001 ’s guest artists, and pretty much anyone from L.A. that could fit on the bus embarked on the famed Up in Smoke Tour, a 44-show victory lap that, at one point in the set, featured an actual lowrider hopping on stage.

The album set up the rest of Dre’s career, cementing Aftermath as a dynasty on the scale of Death Row; there’s likely no Kendrick Lamar on Aftermath without 2001 . The album led to an astonishing run of success in the years immediately following: more Eminem, the discovery of 50 Cent, and, in the wake of 2001 , several huge , Dre - produced singles that built on the album’s instrumental foundation. The 2001 sound was suddenly inescapable, and things were finally as they were supposed to be: Dre was back. Again.

The parts of Dre that would be left behind in the period leading up to 2001 weren’t simply in the interest of making better music. To overhaul yourself, to craft a brand-new narrative the way Dre did between 1996 and 1999, requires a certain degree of cognitive dissonance. Dre was trying to move past Dr. Dre Presents... the Aftermath and the drama with Death Row. He was also trying to let go of the familial trauma that consumed his early life, and to put behind his violence, most of which was directed toward women.

On January 27, 1991, while still in N.W.A, Dre brutally attacked journalist Dee Barnes, the host of the popular Fox entertainment program Pump It Up , at the Po Na Na Souk club in Hollywood. One of the show’s producers had spliced an interview with former N.W.A member Ice Cube, in which he disses the group, into a clip of Barnes interviewing the remaining members of the group: Dre, Eazy-E, MC Ren, and DJ Yella. According to Eazy, the guys felt set up. So when Dre saw Barnes, whom he had known for years, he attacked her. In Barnes’s telling, “He picked me up by my hair and my ear and smashed my face and body into the wall. … Next thing I know, I’m down on the ground and he’s kicking me in the ribs and stamping on my fingers. I ran into the women’s bathroom to hide, but he burst through the door and started bashing me in the back of the head.” No one helped; several people watched on. N.W.A, proud of their violent misogyny, predictably backed Dre. “She deserved it. Bitch deserved it,” Ren told Rolling Stone . Dre told the magazine that, “it ain’t no big thing—I just threw her through a door.” Barnes sued and settled out of court in 1993. She still has migraines from the beating and has struggled to find work in entertainment since.

Between 1992 and 1994, Dre was arrested three separate times for assault, battery of a police officer, and a DUI that involved a high-speed chase through Los Angeles, which sent him to jail for five months. The Barnes incident, though the most famous, wasn’t Dre’s only attack against a woman, nor was it the first. Tairrie B, a female rapper signed to Eazy’s Ruthless Records, says Dre punched her in the eye and mouth at a post-Grammys party in L.A. in 1990. Singer Michel’le, a Death Row labelmate, dated Dre between 1987 and 1996 and had a child with him. She detailed her abuse in a 2015 interview : “I had five black eyes, I have a cracked rib, I have scars that are just amazing. It was normal. Everybody that knew, it was the norm.”

In his 2017 HBO documentary The Defiant Ones , Dre owns up to his assault of Barnes, who’s the only victim interviewed, but nothing else. To explain himself, he discusses seeing his mother abused by his stepfather; the deep depression and alcoholism he fell into in the early ’90s after the death of his brother, Tyree; and the dangerous combination of ego and fame that consumed him and N.W.A as they blew up. “I have this dark cloud that follows me. And it’s gonna be attached to me forever,” Dre says. “It’s a major blemish on who I am as a man. And every time it comes up, it just makes me feel fucked up.” Yet Dre’s acknowledgment of his dark cloud, 26 years after assaulting Barnes, feels like too little and far too late. He says nothing of Barnes’s migraines or career blacklisting. And he says nothing of how that same dark cloud, as it became part of his legend, helped save his career.

In an interview with The Guardian shortly after 2001 ’s release, Dre credits his wife, Nicole, with his return to form, claiming that she told him to ditch the over-it ethos of the Dr. Dre Presents... single “ Been There, Done That ” and go back to gangsta rap. Dre admitted that returning to the misogyny and violence of his earlier work—which runs throughout 2001 —made him uncomfortable. “But then, I have to look at it like entertainment, and I have a set fan base, and there’s certain things they want to hear. They wanna hear Dre be Dre,” he told journalist Ekow Eshun. Dre’s craftiness was that we could have it both ways: Now professing to be a family man, he was resurrecting the violent misogyny of his past self solely as fiction, and, as a result, he could assert it shamelessly. The dark cloud wasn’t something to repent, or overcome, but rather a personality to access. Dre used the violence of his past to color his present, to create an unassailable mythology, even as he declared the album’s violent content fictitious in interviews. “Came up in the game wearin’ khakis not Kangols, stranglin’ hoes / When asked about it in most interviews I just laugh,” he boasts on 2001 ’s “Light Speed,” eight years after assaulting Barnes. These are tongue-in-cheek threats to those who know, smug I got away with it s from a man who never had to reckon with it to begin with.

The story of Dre’s three years in the wilderness, between Dr. Dre Presents… and 2001 , asks a question: When does fiction in the name of art become revisionist history in service of the artist? In 2001 ’s case, the album reframed Dre as a stable, all-business super producer, a legendary figure beyond reproach. It allowed for his history of abuse to fade into the past, hidden behind cop-outs claiming the violence and misogyny on the album was all for show. “Having tried unsuccessfully to divorce himself from what Dr. Dre was,” Eshun writes in The Guardian , “it seems he has chosen instead to broaden the possibilities of who Dr. Dre can be.” 2001 is the sonic equivalent of those endless possibilities. The new Dr. Dre can tell stories about pimping women out and claim to be a family man. He can stage a home invasion and, a few tracks later, mourn his brother ’s murder. He can also claim “my last album was The Chronic ” and elide his previous failure . 2001 is the blockbuster that returned Dre to prominence. And in the process of rehabilitating Dre’s career, it quietly revised the story of who he is.

I was 12 or 13 when I first got my hands on 2001 . I don’t remember if I was shocked at the vulgarity, or confused by Dre’s cryptic references to fallen West Coast legends and old beefs. All I remember is being captivated by its sound. When I finally started to drive a few years later, the first song I put on at max volume, with the windows rolled down, was “Big Ego’s.” I nodded my head and smirked like I imagine Dre did, and my stomach dropped when the bass tumbled in. A queer Jewish teenager from Santa Monica, I was nonetheless captivated by Dre’s big-budget storytelling, transported into the shoes of 2001 ’s shit-talking protagonist. I knew 2001 ’s lyrics were shocking, misogynistic, violent, and offensive. I also knew I loved the album, and that its unsavoriness, and the disgust it provoked in countless other listeners, was one of the reasons why.

When the N.W.A biopic Straight Outta Compton came out in 2015 and left out any mention of the group’s misogyny or Dre’s abuse, I, like many people born after N.W.A and The Chronic , learned the extent of Dre’s history with women in the ensuing controversy. Even Dre, for the first time, had to (somewhat) own up to it . If the apology he issued seemed half-assed, it’s because it was; I don’t know whether Dre genuinely felt regret, but I imagine the lack of effort in actually repenting is partially due to Dre’s own confusion at having to apologize in the first place. If something is a persona, if a history is the result of an external, unremovable dark cloud, then what’s there to apologize for? It’s almost as if Dre, since 2001 , has bought into his own myth so entirely that reckoning with what’s within him is now impossible; Straight Outta Compton arrived 16 years after 2001 , but it recast and justified Dre’s story in exactly the same way.

The cracks in that story, though, are obvious when you listen closely to 2001 . Despite the ghostwriting interventions of Jay-Z (who wrote “Still D.R.E.”), Hittman, Snoop, Eminem, and the D.O.C., Dre never really sounds comfortable in his own voice, and often sounds downright like an alien. Many of his verses feel forced, and he raps on only 13 of 2001 ’s 17 songs. “Another classic CD for y’all to vibe with / Whether you’re coolin’ on the corner with your fly bitch / Laid back in the shack, play this track,” he huffs on the third verse of “Still D.R.E.” with the flow of a high school guidance counselor. It’s not even clear what Dre delivering his own rhymes would sound like.

There’s one song, though, on which we get a hint. 2001 ’s closer, “The Message,” is the one track that is utterly, undeniably convincing from Dre’s point of view. It’s the only song not produced by Dre or Mel, instead coming courtesy of the legendary East Coast producer Lord Finesse. Featuring a hook from Mary J. Blige, it’s a heartbreaking reflection on the loss of Dre’s younger brother, Tyree, who died in a street fight while Dre was still in N.W.A. The song’s lyrics were written by rapper Royce da 5’9”, but, like any movie with perfect special effects, Dre’s delivery and message is so convincing that, even knowing he didn’t write the words himself, the song never fails to give me chills. “I’m anxious to believing real G’s don’t cry / If that’s the truth, then I’m realizing I ain’t no gangsta,” he raps. For a fleeting moment, the artifice falls apart, the weight of history slides off, and Dr. Dre becomes Andre Young.

As I’ve gotten older, 2001 has remained in my personal rap album pantheon. The beats continue to thrill me, and most of the rapping hasn’t aged. 2001 still somehow sounds like the future. But my obsession with the album’s lore has steadily faded. I interviewed Hittman when I was 20 because his disappearance post- 2001 only added more to the myth of the album—and the myth of Dre himself. But when I met Hittman, I found him living happily off royalties with his family in Pasadena, California. And when I learned the reasons for his disappearance—personal tragedy, a disinterested Dre, bad business deals—the bubble popped. Hittman didn’t mysteriously disappear; he got burnt out and chose to move on. The reality was far from the myth, and much more human.

How do we choose the stories we tell about ourselves? Dre chose to bury the shame, anger, and insecurity of his deepest self within tall tales of authority, menace, and, later, questionable contrition. He got one of the greatest rap albums of all time, and a remarkable life, out of that truth bending. But there is always a cost. I asked Hittman, back in 2014, on 2001 ’s 15th anniversary, whether he had any regrets. He quickly told me no. “And while I may have squandered any remnants of a career, I never compromised my character in exchange for one,” he said, sitting outside at a frozen yogurt shop, watching his two young daughters play. “So I can live with that.”

I wonder if Dre can, or if he can say the same. I think of a scene in The Defiant Ones when Dre is sitting alone in his mansion, the Pacifc Ocean crashing outside, as Dee Barnes’s testimony narrates the details of his abuse. His face remains placid as his history is unspooled in front of him in what feels like a final attempt to find the person at its center. He’s the greatest producer of all time, the craftsman behind two of the best albums in history, a mogul worth $800 million and beloved by his city, and an absolute enigma. The waves thunder; the furniture casts shadows. He stares and blinks. Barnes goes on. If Dr. Dre’s having trouble living with himself, he’s learned how to hide it.

Jackson Howard is an assistant editor at Farrar, Straus and Giroux. His writing has appeared in Pitchfork , them. , The Fader , W. , and elsewhere.

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No Strings Attached are pleased to present A LIVE Orchestral Rendition of: DR. DRE: 2001

This body of work features so many intricate musical layers, we have brought in one of Europe’s leading Orchestras to perform a complete rendition of the album and some of Dre’s west coast classics from start to finish. Accompanied by DJ's, singers, and lyricists - this is not your average Orchestral event. 

This is no ordinary Orchestral event. Expect a full standing crowd, with performances from various DJ’s, lyricists and singers as well as a full Orchestral Rendition of Dr. Dre’s: 2001 album, followed by other of Dre’s west coast classics. 

This is the combination of a traditional Orchestra merging with a modern live hip-hop music event. We’re extremely excited to bring this production to yourselves.

Note: Dr Dre will not be attending this event. This is an orchestral rendition event performing covers and renditions. This is a standing event.

18+ with valid physical government issued ID.

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Rapper • Actor • Entrepreneur • Executive • Record Producer

Birth name: andre romell young, birth date: february 18, 1965, age: 59 years old, birth place: compton, california, bands: n.w.a..

Beginning his career with one of the most controversial albums in rap history, Dr. Dre (Andre Young) became one of music's most successful entrepreneurs. To quote the title of that early album, Dre did indeed come "straight outta Compton"; he was born in that part of Los Angeles and did encounter gang violence as a youth, though he avoided much of it by transferring to a more upscale high school. He caught the first wave of hip-hop and was inspired by Grandmaster Flash's work at the turntables, and took the name Dr. J (after his basketball hero Julius Erving) to work as a club DJ. However it was lyrics that would make Dr. Dre and his first group notorious.

With cohorts DJ Yella, Ice Cube and Eazy-E, the group N.W.A. unleashed the 1988 track "F--k tha Police" and the album Straight Outta Compton, both of which upped rap's ante for gritty realism and shock value, largely birthing the gangsta genre. Though Dre rapped on the album, his main contribution was the multi-layered production, which threw a film-noir slant on the sample-driven sound that the Beastie Boys and others had popularized-though instead of just sampling existing records, Dre also used real musicians to recreate famous snippets.

Dre continued with N.W.A. on their second (and last) album Efil4zaggin, while polishing his production skills with a number of associates, including Eazy-E's solo debut Eazy-Duz-It. His eventual fallout with Eazy and N.W.A. proved a blessing as his bodyguard Suge Knight signed Dre to his new Death Row label. His first solo album, late 1992's The Chronic proved another career landmark, creating his trademark subgenre of G-funk-a deep-groove, stoner-friendly rap variation of George Clinton's P-Funk sound.

The album went multi-platinum, produced the smash single "Nuthin' But a 'G' Thang," and launched the careers of collaborators Warren G and Snoop Dogg. As the creative mastermind of Death Row, Dre was now among the most powerful figures in rap, overseeing the careers of Snoop, Backstreet, and new signee Tupac Shakur (though the last relationship quickly soured). The label fell apart in the wake of a compilation album Dr. Dre Presents The Aftermath (which included his personal kiss-off to gangsta rap, "Been There Done That"), but two years later Dre returned with another significant protégé, namely Eminem.

Dre also got himself arrested twice, for battery of a police officer in 1992 and for DUI in 1994. Two girlfriends later accused him of assault but didn't press charges. However he was successfully sued for assault by TV host Dee Barnes after he took issue with her story on N.W.A.'s breakup. Producing Eminem was his main gig as the 2000s dawned, but he began branching out and working with mainstream artists (Mary J. Blige, Gwen Stefani and later, Justin Timberlake). He also produced (separately) another pair of young gangstas, the Game and 50 Cent, and worked extensively on a couple of projects-a Chronic sequel and an instrumental album, The Planets-- that never saw light of day.

He did however begin marketing the quickly-ubiquitous Beats headphones in 2008; when Apple bought Beats Electronics LLC for $3 billion, Dre made good on his longtime boast of being the richest man in hip-hop. Dre suffered a brain aneurysm and was hospitalized January 4, 2021.

Halloween HHRB

Hip-hop halloween, hip hop history mon, straight from the streets, david blaine: the magic way, dr. dre: talk about it, lennox lewis: the untold story, best of 1999, record breakers, all eyez on me, can you dig it, rappers delight, anderson .paak praises dr. dre for career advice, mike epps goin out, w.coast hittas, legends of hiphop, best of tupac, hip hop gold era 90s, hip hop class of 00', summer family, black music month: hip-hop's indelible contribution, eminem greatest.

The Defiant Ones Stream

Dr. dre feat. snoop dogg: still dre, n.w.a & easy-e: kings of compton, something from nothing - ice-t och rap.

Straight Outta Compton Stream

Nwa & eazy-e: kings of compton, money power respect, kendrick lamar feat. dr. dre: the recipe, reincarnated, the 53rd annual grammy awards, blackstreet feat. dr. dre and queen pen: no diggity, dr. dre feat. eminem & skylar grey: i need a doctor, dr. dre feat. snoop dogg & akon: kush, eminem feat. dr. dre, hittman: forgot about dre, dr. dre feat. snoop dogg, kurupt & nate dogg: the next episode, the up in smoke tour, dr. dre feat. ice cube: natural born killaz.

Jimmy Kimmel Live! Stream

Dr. dre: bad intentions.

Training Day Stream

The Wash Stream

Welcome to death row, eminem feat. dr. dre: guilty conscience, dr. dre feat. eminem: forgot about dre, dr. dre feat. snoop dogg: the next episode, dr. dre feat.hittman, eminem: forgot about dre, dr. dre & b-real: puppet master.

The Chris Rock Show Stream

Dr. dre: been there done that, tupac shakur feat. dr. dre: california love, mtv's spring break '95, 2pac feat. dr. dre: california love, 2pac feat. dr. dre, roger troutman: california love (remix).

New York Undercover Stream

Who's the man, dr. dre feat. snoop dogg: nuthin' but a "g" thang, dr. dre: let me ride, dr. dre feat. snoop dogg: dre day (and everybody's celebratin'), dr. dre feat. snoop dogg: nuthin' but a 'g' thang.

Saturday Night Live Stream

News about Dr. Dre

Super Bowl Halftime Show: What Did You Think of Dr. Dre, Snoop Dogg, Eminem, Mary J. Blige & Kendrick Lamar? (VIDEO)

Super Bowl LVI Halftime: Snoop Dogg, Eminem, Mary J. Blige & More to Perform

Dr. Dre is Starring in Apple’s First Scripted TV Series

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Every Song Played During the 2024 DNC Roll Call & Their Hot 100 Peaks: Beyoncé, Taylor Swift & More

Here are all the songs each state and territory played during the roll call at the 2024 democratic national convention..

Taylor Swift performs onstage during "Taylor Swift | The Eras Tour" at Wembley Stadium on August 16, 2024 in London, England.

The Harris-Walz campaign’s love affair with pop music continued in full force on the second night (Aug. 20) of the 2024 Democratic National Convention.

After Patti LaBelle delivered the night’s first performance with a stirring rendition of “You Are My Friend” for the in memoriam segment, Common took the stage to rap a DNC-tinged version of “Fortunate,” a song from his new joint album with Pete Rock . Outside of those performances, the house band kept the covers rolling with funky versions of Beyoncé ‘s “Cuff It,” Hozier ‘s “Too Sweet,” and Mark Ronson ‘s “Uptown Funk!” soundtracking the jumbotron camera’s journey around the packed arena.

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The real magic, however, came during the roll call. During each convention, each U.S. state and territory casts their votes for the party’s presidential nominee; last night’s roll call was a symbolic, in-person version of an August online meeting, in which Vice President Kamala Harris became the Democratic party’s official nominee. DJ Cassidy served as the roll call’s master of ceremonies, using his beloved “Pass the Mic” template to rattle off each state and territory represented in the venue.

For this year’s roll call, the delegates reached across decades of music to illustrate a rich sonic collage of American music history. From country and reggaeton to rock and hip-hop, the breadth of America’s rich blend of cultures and traditions illuminated the United Center arena. To top it all off, Lil Jon made a surprise appearance on the floor of the convention to help his home state of Georgia cast its votes for Harris. As if his mere presence wasn’t enough, he also treated the fired-up crown to a bombastic rendition of his DJ Snake -assisted “Turn Down For What,” which he flipped into a musical tribute to Harris and her running mate, Minnesota Gov. Tim Walz. Georgia wasn’t the only state to make the most of their moment, Pennsylvania, Minnesota and Harris’ home state of California all played multiple songs while they casted their votes.

From Aretha Franklin and Dolly Parton to Beyoncé and Chappell Roan , here are all the songs played during roll call at the 2024 DNC — and where they peaked on the Billboard Hot 100 .

Song: Lynyrd Skynrd, “Sweet Home Alabama”

Hot 100 Peak: No. 8 (chart dated October 26, 1974)

Song: Portugal. The Man, “Feel It Still”

Hot 100 Peak: No. 4 (chart dated Nov. 4, 2017)

American Samoa

Song: Lady Gaga, “The Edge of Glory”

Hot 100 Peak: No. 3 (chart dated May 28, 2011)

Song: Stevie Nicks, “Edge of Seventeen”

Hot 100 Peak: No. 11 (chart dated April 17, 1982)

Song: Fleetwood Mac, “Don’t Stop”

Hot 100 Peak: No. 3 (chart dated Sept. 24, 1977)

Song: Dr. Dre & Snoop Dogg, “The Next Episode”; 2Pac, Dr. Dre & Roger, “California Love” ; Kendrick Lamar, “Not Like Us,” Kendrick Lamar, “Alright”

Hot 100 Peak: “The Next Episode” peaked at No. 23 (chart dated July 29, 2000); “California Love” peaked at No. 1 (two weeks, chart dated July 13, 1996); “Not Like Us” peaked at No. 1 (two weeks, chart dated May 18, 2024); “Alright” peaked at No. 81 (chart dated October 3, 2015)

Song: Earth, Wind & Fire, “September”

Hot 100 Peak: No. 8 (chart dated Feb. 10, 1979)

Connecticut

Song: Stevie Wonder, “Signed, Sealed, Delivered (I’m Yours)”

Hot 100 Peak: No. 3 (chart dated Aug. 8, 1970)

Democrats Abroad

Song: The O’Jays, “Love Train”

Hot 100 Peak: No. 1 (chart dated March 24, 1973)

District of Columbia

Song: DJ Kool, “Let Me Clear My Throat,”

Hot 100 Peak: No. 30 (chart dated March 29, 1997)

Song: Tom Petty, “I Won’t Back Down”

Hot 100 Peak: No. 8 (chart dated July 1, 1989)

Song: DJ Snake & Lil Jon, “Turn Down for What”

Hot 100 Peak: No. 4 (chart dated June 14, 2014)

Song: Sabrina Carpenter, “Espresso”

Hot 100 Peak: No. 3 (chart dated June 22, 2024)

Song: Bruno Mars, “24K Magic”

Hot 100 Peak: No. 4 (chart dated Dec. 10, 2016)

Song: The B-52s, “Private Idaho”

Hot 100 Peak: No. 74 (chart dated Nov. 8, 1980)

Song: The Alan Parsons Project, “Sirius”

Hot 100 Peak: N/A

Song: Michael Jackson, “Don’t Stop ’til You Get Enough”

Hot 100 Peak: No. 1 (chart dated Oct. 13, 1979)

Song: Kool & The Gang, “Celebration”

Hot 100 Peak: No. 1 (two weeks, chart dated Feb. 7, 1981)

Song: Kansas, “Carry On Wayward Son”

Hot 100 Peak: No. 11 (chart dated April 2, 1977)

Song: Jack Harlow, “First Class”

Hot 100 Peak: No. 1 (three weeks, chart dated April 23, 2022)

Song: DJ Khaled feat. T-Pain, Ludacris, Snoop Dogg & Rick Ross, “All I Do Is Win”

Hot 100 Peak: No. 24 (chart dated July 24, 2010)

Song: Walk The Moon, “Shut Up And Dance”

Hot 100 Peak: No. 4 (chart dated May 30, 2015)

Song: Aretha Franklin, “Respect”

Hot 100 Peak: No. 1 (two weeks, chart dated June 3, 1967)

Song: Eminem, “Lose Yourself”

Hot 100 Peak: No. 1 (12 weeks, chart dated Nov. 9, 2002)

Song: Prince, “Kiss”; Prince, “1999”

Hot 100 Peak: “Kiss” peaked at No. 1 (two weeks, chart dated April 19, 1986); “1999” peaked at No. 12 (chart dated July 23, 1983)

Mississippi

Song: Sam Cooke, “Twistin’ the Night Away”

Hot 100 Peak: No. 9 (chart dated March 24, 1962)

Song: Chappell Roan, “Good Luck, Babe!”

Hot 100 Peak: No. 8 (chart dated Aug. 17, 2024)

Song: Lenny Kravitz, “American Woman”

Hot 100 Peak: No. 49 (chart dated Oct. 30, 1999)

Song: Katy Perry, “Firework”

Hot 100 Peak: No. 1 (four weeks, chart dated December 18, 2010)

Song: The Killers, “Mr. Brightside”

Hot 100 Peak: No. 10 (chart dated June 11, 2005)

New Hampshire

Song: Journey, “Don’t Stop Believin'”

Hot 100 Peak: No. 9 (chart dated Dec. 19, 1981)

Song: Bruce Springsteen, “Born in the U.S.A.”

Hot 100 Peak: No. 9 (chart dated Jan. 19, 1985)

Song: Demi Lovato, “Confident”

Hot 100 Peak: No. 21 (chart dated Dec. 19, 2015)

Song: Jay-Z & Alicia Keys, “Empire State of Mind”

Hot 100 Peak: No. 1 (five weeks, chart dated Nov. 28, 2009)

North Carolina

Song: Petey Pablo, “Raise Up”

Hot 100 Peak: No. 25 (chart dated Nov. 24, 2001)

North Dakota

Song: Alicia Keys, “Girl On Fire”

Hot 100 Peak: No. 11 (chart dated Dec. 15, 2012)

Northern Mariana Islands

Song: Marvin Gaye & Tammi Terrell, “Ain’t No Mountain High Enough”

Hot 100 Peak: No. 19 (chart dated July 15, 1967)

Song: John Legend feat. André 3000, “Green Light”

Hot 100 Peak: No. 24 (chart dated Dec. 6, 2008)

Song: Brooks Jefferson, “Ain’t Goin Down (Til the Sun Comes Up)”

Song: Modest Mouse, “Float On”

Hot 100 Peak: No. 68 (chart dated Sept. 4, 2004)

Pennsylvania

Song: “Motownphilly” (Boyz II Men) & “Black and Yellow” (Wiz Khalifa)

Hot 100 Peak: “Motownphilly” peaked at No. 3 (chart dated Sept. 7, 1991); “Black and Yellow” peaked at No. 1 (chart dated Feb. 19, 2011)

Puerto Rico

Song: Luis Fonsi & Daddy Yankee, “Despacito”

Hot 100 Peak: No. 1 (16 weeks, chart dated May 27, 2017)

Rhode Island

Song: Taylor Swift, “Shake It Off (Taylor’s Version)”

Hot 100 Peak: No. 28 (chart dated Nov. 11, 2023)

South Carolina

Song: James Brown, “Get Up (I Feel Like Being A) Sex Machine”

Hot 100 Peak: No. 15 (chart dated Aug. 8, 1970)

South Dakota

Song: The Romantics, “What I Like About You”

Hot 100 Peak: No. 49 (chart dated March 15, 1980)

Song: Dolly Parton, “9 to 5”

Hot 100 Peak: No. 1 (two weeks, chart dated Feb. 21, 1981)

Song: Beyoncé, “Texas, Hold ‘Em”

Hot 100 Peak: No. 1 (two weeks, chart dated March 2, 2024)

Song: Neon Trees, “Animal”

Hot 100 Peak: No. 13 (chart dated Nov. 13, 2010)

Song: Noah Kahan, “Stick Season”

Hot 100 Peak: No. 9 (chart dated April 27, 2024)

U.S. Virgin Islands

Song: Mic Love, “VI to the Bone”

Song: Timbaland feat. Keri Hilson & D.O.E., “The Way I Are”

Hot 100 Peak: No. 3 (chart dated Aug. 25, 2007)

Song: Macklemore & Ryan Lewis feat. Ray Dalton, “Can’t Hold Us”

Hot 100 Peak: No. 1 (five weeks, chart dated May 18, 2013)

West Virginia

Song: John Denver, “Take Me Home, Country Roads”

Hot 100 Peak: No. 2 (chart dated Aug. 28, 1971)

Song: House of Pain, “Jump Around”

Hot 100 Peak: No. 3 (chart dated Oct. 10, 1992)

Song: Black Eyed Peas, “I Got A Feeling”

Hot 100 Peak: No. 1 (14 weeks, chart dated July 11, 2009)

This article was originally published by Billboard U.S.

The Sheepdogs Buy Back Their Catalogue, Release Surprise EP On Their New Independent Imprint

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The Sheepdogs

Paradise Alone is the first offering on the group's new self-owned Right On Records, going independent after parting ways with their major label.

Today (Aug. 22), multi-platinum selling and multiple Juno-winning Canadian rockers The Sheepdogs released a surprise new five-track EP , Paradise Alone , alongside a video for new single “Take Me For A Ride” (which drops at 8 a.m. ET on Thursday).

For the Saskatoon band, who gained prominence after winning a contest to appear on the cover of Rolling Stone in 2012 , it represents a turning point. 2024 marks the 20th anniversary of The Sheepdogs, and plenty has been happening in their career. Paradise Alone , released on the band’s newly minted label Right On Records, is the group's first full independent release since leaving Warner Music Canada.

Since parting ways with that major label in 2022, The Sheepdogs were reportedly able to buy back their catalogue and distribute the music along with future releases via Right On Records, distributed through The Orchard worldwide.

"We've been a band for 20 years, and pretty comfortable with who we are and how we do things. We've lasted this long by staying true to ourselves, doing things our way, and not chasing trends," says bassist Ryan Gullen in a statement, noting that the band already handles their own management, marketing and production. “Acquiring our catalogue and starting our own label is about taking things to the next level. We want to be in the driver’s seat, doing things our way, and maybe even helping other artists do the same. With so much constantly changing, we're focused on staying true to our approach."

The EP was produced by frontman Ewan Currie and is the first recording to feature guitarist Ricky Paquette, who joined the band in 2022. Paradise Alone was recorded over a five day period at Southern Grooves in Memphis with Grammy-award-winning engineer Matt Ross-Spang, with whom The Sheepdogs have a long relationship.

The band first met Ross-Spang in 2014 at the legendary Sun Studios while filming a CBC Music Backstage Pass celebrating Elvis. Ross-Spang, then a young engineer working at Sun, so impressed the group that they brought him to Canada to engineer Future Nostalgia in late 2014, his first album engineered outside of Sun.

Ross-Spang has gone on to become one of the most sought after engineers in the U.S., working on many albums by such stars as Jason Isbell, John Prine, Al Green, Margo Price and more.

The '70s-style classic rock revivalists have pledged to take advantage of this hard-earned independence by releasing shorter collections of music on their own schedule, rather than following the traditional album cycle or chasing viral trends.

Renowned as true road warriors, The Sheepdogs have over 80 headline tour dates across Canada, the U.S., Europe, and the U.K. in 2024. They had a recent five show run supporting Bryan Adams in Quebec and Blue Rodeo in Saskatoon. A North American tour running Sept. 13 to Oct. 17 features just one Canadian date, at Oktoberfest Koolhaus in Kitchener. A European tour then follows, from Nov. 9 to Dec. 5. Check the itinerary here .