Eminem clip from the Documentary

https://youtu.be/npCuHVwLFLI


https://www.rollingstone.com/music/music-features/the-doc-documentary-interview-1364849/

HOME
MUSIC
MUSIC FEATURES

JUNE 10, 2022 11:25AM ET

The D.O.C. on Finally Getting His D.U.E.

The rapper, who has worked with N.W.A, Dr. Dre, and Snoop Dogg, discusses a new documentary about his life, The DOC, and reflects on how the car wreck that cost him his voice also saved his life

By KORY GROW

Between 1988 and 1992, the D.O.C. released his platinum-selling, still-jaw-dropping debut album, No One Can Do It Better, and ghost-wrote rhymes for N.W.A’s Straight Outta Compton, Eazy-E’s Eazy-Duz-It, and Dr. Dre’s The Chronic. He also cofounded Death Row Records with Dre and Suge Knight, and he mentored a young Snoop Dogg on the ins and outs of songcraft when the young rapper only knew how to freestyle. All of those achievements, though, are overshadowed in some ways by the 1989 accident in which the D.O.C., a.k.a. Tracy Curry, lost his voice — a tragedy that reshaped his life in an instant.

After a night at the Beverly Hills Hotel that November, the rapper was on his way home when a couple of cops spotted him speeding recklessly through the posh neighborhood. “Now I’m just loaded,” he recalls, laughing now that he’s had enough time to come to terms with what happened next. “So I hit a couple of street corners and pull over in front of somebody’s mansion. I turned off all the lights, leaned over in the front seat like they would pass by me and go, ‘Where did he go?’ They walked up on the car about two minutes later, tapped on the window, and I got out and gave them some shtick and, you know, they loved it.”


The cops let him go with a warning. Later that night, he fell asleep at the wheel and crashed through his windshield when his car hit a tree. When he recovered in the hospital, he realized he couldn’t speak. More than three decades have passed since the D.O.C. survived that wreck and the surgery that followed, and his voice still sounds a bit like wind dragging loose gravel through a canyon. It’s raspy and husky, and it only makes anyone he’s speaking to listen closer to what he has to say. Although he has put out a couple of albums since, the accident effectively ended his rap career.

Now a new documentary, The DOC, which the rapper produced and first-time film director Dave Caplan helmed, is telling Curry’s full story, from his humble beginnings in Dallas to his recent religious reawakening. The film’s talking heads are a who’s who of hip-hop, including interviews with Dr. Dre, Ice Cube, Tone Loc, Snoop, Eminem, Too $hort, Xzibit, and on and on, as well as members of Curry’s family and his ex Erykah Badu. The movie premieres tonight in New York as part of the Tribeca Film Festival.

Earlier this week, the D.O.C. spoke with Rolling Stone via Zoom about the film and how he’s turned his life around.

RS:What do you hope people get out of seeing your story?


It’s purposeful. This was a purposeful life that I’ve led. And it took me a long time to get here — 33 years to let those burdens go. But I see it pretty clearly today.


RS:In the film, Dr. Dre said you had to lose your voice to save your life. How did you feel hearing that?



I agree with that. Had I kept my voice, I might not be here today.



RS: You’ve had an on-again, off-again friendship with Dre. The film opens with your reunion with him. When I interviewed you a few years ago for an article about N.W.A’s Efil4zaggin album, you said you thought you’d never talk to him again. How did it feel seeing him again?




In these 33 years, we’ve had some real knockdown, drag-out confrontations. We get angry, and the lapse is usually about five or six years, because we go at it. You must have caught me in the middle of one of those moments.

There’s a moment towards the end of this film where Dre is saying to me, “You should be concentrating on other things. It’s obvious that you were meant to be doing something else.” And the way he delivered that sentiment… Imagine that a person that’s that caring made “Fuck tha Police.” The way that he delivered that line was so compassionate. Just for me, as a budding filmmaker, to be able to get that guy to come across that graciously was dope to me.


RS: Ice Cube said he was really impressed by your process and that he felt that you elevated the flow of N.W.A. How do you describe your contribution to that group?


I always said I was a spark, and that resonates. I was a really talented dude with great ideas that performed at a high level. That means everybody had to come up here to where I am, or it didn’t match. We pushed each other, especially Cube and me. We competed a lot, but it was friendly competition. He made me go back and rewrite my stuff, and I made him go back and rewrite because nobody wanted to be outdone. We made each other the best we could possibly be. Even though I could never touch what Cube does, I know that he did a whole lot for who I am.


RS: After you lost your voice, you convinced Dre to go solo and do The Chronic. How did you talk him into that?



We were having problems with (N.W.A’s label) Ruthless, and it just seemed like it wasn’t going anywhere. The idea was for us to branch out and do something on our own, but we didn’t have an artist. It was so simple to me, “You’re the artist.” And Dre was never a solo guy. That was never his train of thought. So I had to beat it into him. Like, “What else are we going to do? We got these great songs you’re making. Let’s go.” But once Snoop came, I think Dre began to see the possibilities. After that, everything snowballed.



RS: Snoop gave you a lot of credit in the film for helping him with songcraft. What did you teach him?


He just freestyled his records, no different from the kids now. But even as a freestyler, he set up bars well. Snoop was all about charisma. It was never about the amazing wordplay; it was about how he said the words that he said. I just helped him refine that and showed him different tricks and stayed on him about what you’re trying to accomplish when you’re writing a song. He wrote 99 percent of “G Thang” just after a conversation, with very little mistakes. That was the introduction to some of his best work ever, if you ask me, because he had to write for both Dre and himself in a way that made Dre seem like he was talking from his perspective and Snoop talking from his perspective, yet still keep that continuity. He was just a genius off top. For me, it was a blessing because I got a chance to put what I wanted to be into him, and he regurgitated that shit back in a way that was triple platinum.



RS: You cofounded Death Row Records, but the doc doesn’t include much about how you and Dre broke free from Ruthless Records. Why is that?




I didn’t want to linger on the theft, the deceit, and the blood and the beating up — all those elements exist in this thing enough for you to know where I was. Some things in this documentary, I treaded lightly because it was important for me that the story be told of these people and not the sensationalized things that happened along the way.


I think that’s where a lot of the documentaries on artists from this genre miss, because the filmmakers focus so much on the sensationalized things that happen in the journey. They forget that they’re writing about people that’s going through this shit. If you focused on those people and their lives and what they feel, then the stories that you’re telling could be a lot more purposeful, and you get a lot more out of it.



RS: Just focusing on the facts, not the sensationalism, what do you remember about what happened?



The whole “Suge beating the guy up with bats” … In the long run, it was a disagreement between guys that were really good friends that couldn’t be resolved. When you get business involved and people get the lawyers … (Laughs.) He was a different guy, and he resolved things a different way, and we were kids in a different place. With Dre and Eazy, I know for a fact that Dre really tried to resolve that stuff before he did anything. They just couldn’t do it.



RS: What was your vision for Death Row?


We had already done it (with Ruthless). I say this with as much respect possible: If Eazy had seen what he had — if he’d seen that he had four or five guys that were representative of what hip-hop would be for the next 30 years … and he just let them all go. Like, wow. At some point Warren G was coming with Snoop, and the whole thing could have really been Motown. For me, that’s what it was supposed to have been with Eazy. That’s what it was supposed to have been with Suge and Death Row. But money and greed and guys falling in love with their avatars — their characters — you start forgetting that we’re just freaking people trying to make a living and make a better way for ourselves and our families and the people that come from the places we come from.



RS:Snoop bought Death Row this year. That has to feel good for you.



I’m a spiritual guy. Everything happens for a purpose. The way Snoop talks about what he’s going to do with that label, making sure all the old debts are paid and all the people get their business together, I think that’s a blessing. And whatever he needs for me, I’m there to back him up 1,000 percent.



RS: How did you come to peace with Dre’s success during a time when you weren’t able to make records?


My energy was in such a dark place, my only win was the wins (of the people I worked with). So I couldn’t hate their wins; their wins were my wins. That’s the only way I could feel like I was actually winning. But the self-sabotage … When you’re in the Sunken Place, you can’t win because you’re not going to allow yourself to win. 2020 was when it came for me. It may sound cliché, but I really had a come-to-Jesus moment, and the Spirit says that I can let the pain go, because it wasn’t me that did it in the first place. That was a divine path to bring me to this point.


RS: If you could speak to the cops who pulled you over the night of your wreck but let you go even though you were obviously intoxicated, what would you say to them?



I would say thank you. There is purpose in everything. If you are wise enough to understand that that’s a fact, you understand that destruction comes before construction. What some might have seen as the worst night of my life was actually the night that began building me for this event.

Had I known that when I had the wreck, maybe I wouldn’t have gone through 33 years of so much pain and drama. But those are lessons that I had to learn to be able to do what I was meant to do, to be able to use the voice that I was meant to have. And even though that last one was pretty powerful, I think this one, with much less effort, is much more powerful.



RS: In much of the film, you’re considering getting vocal cord repair surgery that might or might not work, and it seems kind of unresolved by the end of it. How do you feel about that now?



Well, this documentary was super-cathartic for me. Through this process, I learned through the love that these people showed me what this life was worth, and what’s possible with it. Between my wife and my babies, and my friends, I learned that there’s more important things than rapping. Two years from now, (the doctors) might say, “Shit, we can give you (your voice) back, and it’s 100 percent,” and I’d be more willing to go.

I want to be here for my kids. This voice is the only voice my kids know. If I came in and talked like the old me, I might fucking freak them out. So I’m just going to continue to try to do the best I can and let this journey be a positive for the young ones that are coming up, because there’s another D.O.C. out there and Snoops and Dres, and there are other possibilities to be what those two could have been.



RS: Speaking of inspiring people, one of my favorite scenes is seeing Eminem become a total fanboy for you. You don’t see that side of him too often.




Yeah, I’m always sort of on eggshells around him. I don’t want to say the wrong shit, you know what I mean? Because the guy is so good that I don’t want him to think … I’m just thankful and really grateful that the dude is such a lover and a fan of this art. It really speaks to what kind of guy he is.



RS: Are you working on new music?



I don’t want to speak too much on it. There’s a guy named Fat Mike who belongs to a punk band called NOFX. He started working with a band called the Codefendants. I did a song with those guys, and people are freaking out about it, so must be pretty good. So maybe that’s another lane I can go into. I also started working with a small gaming company called Esposure down here in Dallas that teaches STEM principles through gaming. I’m building a curriculum based around arts and entertainment and technology to give these kids what traditional school isn’t giving them in a format that they could be interested in from somebody they really might listen to and try to step up our education here in this country. There’s so much work to be done. I don’t need to just hold my penis and rap anymore.


RS: Ultimately, what do you hope this film accomplishes?



Healing. I want people to see healing. I want people to see me heal in front of the whole world, expose all of my bullshit, get out there with my heart wide open and heal it and then move forward and take from that, extrapolate from that what we could do as communities, what we can do as hip-hop, what we can do as a country.

Cannot wait to see this. I literally listen, watch and read every interview there is with DOC.

I got so squeamish hearing him describe the accident and what they did to destroy his voice on Kweli’s show, I don’t know how much I can sit through at one time. I thought people were reporting that his voice was returning, but it still sounds the same.

____________
Twitter & IG: @rulerofmyself
SC: rulerofmyself17

Yes! She's on the drugs. (c) BoHagon

“So back we go to these questions — friendship, character… ethics.”

How can I see it?

---------------------------------------------------------------

If you can't understand it without an explanation

you can't understand it with an explanation

...choices but since I'm not reading any concrete plans I assume the filmmakers just have to see who (Netflix, etc.) wants to pay whatever costs.


I know when "Devil's pie: D'angelo" doc was released there was no "up front announcements on how fans could see it beyond a opening night here and there. Now I see it is available on Amazon Prime, so....I hazard to assert that that is the "normal" route for any doc folks eventually (or immediately) have a "demand" for.

Especially to jump off the exposure of Tribeca.
Excited to see it either way.
There's an interview clip with Eminem that was interesting.

https://digife.com

He says he’s ready to go “full blast” and encourages anyone who wants to get involved to reach out to him directly: thedocumentary23@gmail.com.

“Anybody who wants to know what I’m doing, wants to know about this documentary, or wants to help me with this mission, reach out to me and talk to me ‘cause as a family, we got shit to do,” he concludes.

https://www.spin.com/2023/05/the-d-o-c-is-back/

FEATURES

The D.O.C. Is Back

After a devastating accident in 1989 crushed his larynx, the rap pioneer is reigniting his career

Written By Kyle Eustice

| May 15, 2023 - 1:22 pm


Home » Features » The D.O.C. Is Back



In 1989, Tracy Lynn Curry—better known as West Coast gangsta rap pioneer the D.O.C.—was living a career of unstoppable success. His first solo album, No One Can Do It Better, was No. 1 on the Billboard Top R&B/Hip-Hop Albums chart, and the singles “It’s Funky Enough” and “The D.O.C. and The Doctor” had reached the top of the Rap Singles chart. As a songwriter, he’d gained a reputation for penning ruthless rap anthems. From his work on N.W.A’s trailblazing debut Straight Outta Compton to Dr. Dre’s The Chronic, the Dallas native helped put Ruthless Records on the map.

But everything came to a screeching halt one night following a party in Los Angeles.

Admittedly “high as a kite,” the D.O.C. crawled into the driver’s seat of his car and took off down the freeway. After falling asleep at the wheel, he careened off the road. Without the security of his seatbelt, the D.O.C. was ejected from the vehicle and slammed face-first into a tree. His injuries were so severe, he spent two weeks in the hospital and required 21 hours of plastic surgery.

Lucky to be alive, the D.O.C. was soon faced with a sobering reality—he couldn’t speak. At some point in the chaos, doctors inserted a tube down his throat and accidentally crushed his larynx. His rap career as he knew it was over. Severely depressed, he turned to drugs and alcohol to numb the physical and emotional pain.




While this story is well-documented, more than 30 years after the accident, the full scope of its aftermath is only just unfolding. Last June, director Dave Caplan premiered the documentary The DOC at New York City’s Tribeca Film Festival. As the title suggests, the film centers on the D.O.C.’s life, his journey to acceptance, and his inevitable rebirth.

“I’m a spiritual guy,” he says. “I tell people it’s just a G-O-D thing, not a D-O-C thing. What I’ve come to understand is it doesn’t happen to you, it happens for you. Even if you don’t realize it at the time, it’s taking you somewhere that, at the end of the day, is so much better for you. You just got to hold on.”

Defining his purpose took years of internal work. Erykah Badu, the mother of his 18-year-old daughter Puma, was a significant part of that process. There’s a tender moment captured in the documentary where they are sitting outside on a curb, talking about a potential surgical procedure that could either make his voice better or worse. “I’m just so lost in what was, it makes it really difficult to make what is work. I can’t use this…” he says, referring to his voice.

Badu gently replies, “I can hear you.” He smiles, tears welling up. She continues. “Puma can hear you. Amber (his wife) can hear you. The boys can hear you. You have a serious decision to make.”

Meeting Badu at the Dallas Hip Hop Summit in 2002 was fate. At the time, the D.O.C. was drowning in substance abuse in an attempt to squash his suffering, but she understood why he was trying to self-medicate.

“I was empathetic to his story,” she says in the film. “He just didn’t feel good. And when you don’t feel good, you try to numb that pain, you’re trying to self-medicate, and he self-medicated to a point where it clouded his mind and became kind of reckless.”

The two fell in love, and suddenly he was sober, eating vegan food and proclaiming “Fuck the D.O.C.” He was Tracy Curry again for the first time in years.


“I gotta go back to the G-O-D thing, right?” he says to me, of his time with Badu. “Every single person in my life—including you—come at a time to do a thing, and it’s so important to this journey, and they all shine the same way, including you. Mike and Erykah and Dr. Dre and Snoop and you—so many other people you can’t fit into an hour-and-a-half movie. But what Erykah did was I wasn’t even on this plane, literally and figuratively. I was in outer space. Erykah lassoed my foot and pulled me back down to this planet, sat on me, and I understood this was where I was supposed to be, and she gave me a beautiful baby girl. Erykah was the beginning of real change, and she’s here to this day.”

While their romantic relationship didn’t last, their friendship remains beautifully intact. He adds, “I’m over at her house all the time. She lives about 15 minutes from me. She is the love of my life. She’s one of the people who (was) a gift to me sent to help me be who I am today. And for her, I am so grateful.”

The D.O.C.’s time with Badu, coupled with the life-altering accident, ultimately led him to his purpose—helping others, specifically young kids. The 54-year-old is currently in the process of establishing his own school called D.O.C. Inc., an institution that will help mold the minds of future generations and steer them on the right path.

“My mission statement now, the thing that I think about as soon as I get up in the morning, is this school I’m trying to build in the southern sector of Dallas,” he explains. “It’s super important, and I know it’s gonna be impactful. It’s me being a father, not just to my own kids but to all of our kids. The shit I went through was purposeful so that I could understand enough to go and talk to a certain population of kids that some motherfuckers can’t get to.”

The D.O.C.’s humble demeanor and infectious smile are all signs he’s finally in a good place. Last June—in what he describes as another “G-O-D moment”—he was introduced to NOFX frontman/producer Fat Mike, who let him shoot part of The DOC at his Las Vegas home. In turn, Fat Mike connected him with indie rap staple Ceschi Ramos and the Get Dead’s Sam King, who were making music under the moniker Codefendants. One day at Fat Mike’s house, Mike played the D.O.C. some of their music, which he found intriguing.

With Fat Mike’s encouragement, the D.O.C. contributed a verse to the single “Fast Ones” from the group’s latest album, This is Crime Wave. It was the first time the D.O.C. recorded a verse in more than 15 years. Noticeably gruff but as powerful as ever, his voice added a raw element to the explosive track. A video would follow, and the D.O.C. found himself filming amongst a colorful cast of characters, including Freestyle Fellowship’s Myka 9, the Shape Shifters’ Awol One, and producer Factor Chandelier. The opportunity only fueled the D.O.C.’s fire for making music, and in April, he headed to Austin to perform with Codefendants at the Punk in Drublic Festival, his first live rap performance in nearly 30 years.

The D.O.C. was back.

“It was just fucking cool as shit,” he says. “I hadn’t been to something like that in years. Love was everywhere. If I’m being honest, I had no idea that people really fucked with me like that. It was a big deal. Luckily, a camera guy was there and captured everything. It was a fucking moment. I had no idea that’s who Fat Mike was. The guy let me use his house to shoot the documentary, and he’s funny. I just liked him. He’s a good guy. But I had no idea that was who he was. That guy is something else. He’s incredible. He’s a movement. I didn’t know that. It was a real experience.”

He continues, “I haven’t performed in so long. But it must be like muscle memory because I didn’t skip a beat. My bones don’t move as fast as they used to, but all the movements are all the same and people react the same. I went outside and talked to the people, and they were so expressive and heartfelt. They all knew my story and felt my pain. I didn’t know that side of the world existed. It was a blessing.”

For now, The DOC film still isn’t available to a wider audience, something he recently addressed on Twitter. On April 28, the D.O.C. was asked about its release, and he replied, “There is an unnamed company trying to keep you from seeing it.” He remains confident, however, it will arrive this summer. In the meantime, the D.O.C. is fielding offers and focused on manifesting the school. He says he’s ready to go “full blast” and encourages anyone who wants to get involved to reach out to him directly: thedocumentary23@gmail.com.

“Anybody who wants to know what I’m doing, wants to know about this documentary, or wants to help me with this mission, reach out to me and talk to me ‘cause as a family, we got shit to do,” he concludes. “And I need all the help I can get. Anybody who knows me and feels my pain and understands this struggle knows what’s in my heart and what I gotta go do. And I need your help, so holler at me.”

….he would still have his voice

The one time cops in LA didn’t arrest a Black man and they ruin the trajectory of West Cosst Hiphop lol

Imagine if Dre left Ruthless with DOC and the star on Death Row was DOC, not Snoop

Peace,

Spirit (Alan)
http://wutangbook.com

>….he would still have his voice
>
>The one time cops in LA didn’t arrest a Black man and they
>ruin the trajectory of West Cosst Hiphop lol
>
>Imagine if Dre left Ruthless with DOC and the star on Death
>Row was DOC, not Snoop

That last part tho .. I think Snoop had more personality, but they could've been co-stars.

----------------------------------------

"Fuck aliens." © WarriorPoet415

Codefendants feat. DOC - fast ones

https://youtu.be/LfXZnZW4frM


https://www.vibe.com/features/editorial/the-d-o-c-new-music-documentary-1234770618/



After Two Decades, The D.O.C. Is Locked And Loaded

The renowned ghostwriter also discusses being a possible "poster child" for the benefits of artificial intelligence in music.


BY PREEZY BROWN



JULY 14, 2023 10:46AM


The story of The D.O.C. is often told with an underlying air of tragedy, but the rap legend’s legacy is one defined by triumph. His 1989 debut project, No Once Can Do It Better, was hailed as an instant classic. Yet, that success was undercut when The D.O.C. was involved in a near-fatal car crash later that year. He suffered injuries that damaged his voice and ultimately derailed what appeared to be a legendary rap career. While the Dallas native released two studio albums (Helter Skelter, Deuce) in 1996 and 2003 respectively, he never regained the momentum he built with his debut, resulting in one of the biggest “what-if” questions in terms of a dream deferred.


The D.O.C., who says his voice has since been fully recovered, recently resumed his recording career with an appearance alongside the Codefendants on the song “Fast Ones” from their album This is Crime Wave. With artificial intelligence gradually becoming a widely used tool and breaking barriers in music, he finds himself at yet another crossroads in his journey while voicing his appreciation for the perspective gained along the way.


VIBE spoke with The D.O.C. about resuming his career as a recording artist, his forthcoming documentary, and his confliction about the use of artificial intelligence in music.



Vibe: You recently appeared alongside Codefendants on the song “Fast Ones,” which features your first recorded verse in nearly 20 years. Can you tell us about the vibe of the song and how it came to life?



The Codefendants is a group that was put together by a guy named Fat Mike who was in a punk band called NOFX. I shot some of my documentary in his house; he let me use his place. So he asked me to be on this song and it’s been 30 years, bro. I did the verse for him and they really loved the sh*t and they put the song out and now people really seem to love the record. They said they wanted an ‘NWA verse,’ and that’s what I gave them.



Vibe: What spurred and inspired you to get back in the swing of things?



I’ve never stopped. What made me stop putting it out is people were in my ear telling me that I shouldn’t put it out. And I just didn’t feel good about the voice or who I was, but now I’m a different man. I’m much closer to the man I was, as that boy that just kind’ve knows he’s dope and don’t give a f**k what nobody say. So I’m trying to get it out here, whatever it is. Whether it’s new music or an artist documentary. A lot of people got me caught in between this A.I. thing where part of me is like, ‘That would be really cool, you know to be a part of.’ It seems like if anybody, I would be the poster child for some sh*t like that. But there’s so many people that love this voice now, it’s like ‘Man, f**k that.’ So for me, it’s all good, I’m in a great space. G.O.D. put me through some stuff, but he let me make it and now things are looking up for me.




Vibe: You recently did your first live performance in over 20 years in your hometown of Dallas as well. Take us through the performance and the reception from the crowd?



Well, the first show was in Austin, like a couple days before. It was a festival show, it was about maybe 15,000 punk rock kids out there, right? Yeah. I say kids, but you got folks out there from 14 to 55 and they’re just out there vibing and they loved it. They loved it, bro, and it felt great. I couldn’t walk five feet without folks really just on me and I haven’t been part of that emotion in a long time. And when I when I came to Dallas to do that same set in a much smaller venue, it was folks that drove from Austin to Dallas to see that sh*t two days later and take pictures. It was a big deal for them, so it was a big deal for me, bro. It’s a blessing and I don’t take it for granted.




Vibe: Your near-fatal car accident, which altered your voice, is one of the greatest tragedies and what-if moments in Hip-Hop history. How often do you think about how your career and legacy could’ve turned out different?



We’re talking about this documentary for a reason. Every question that you could ever have and a whole bunch of sh*t that you would never even think to ask is in that documentary. It is the best music documentary you’ll see this year and a perfect f**king present to Hip-Hop. It’s a gift to her and it’s a gift to us because you get to see her at her best. Even at her f**king worst, you see her at her best, right? And so I say all that to say it was a path for me and I treasure that path and if I had to go back to that car wreck that day to get all these things that I got now, I’d go to the sh*t again the same way. I mean, yeah, I was a cold motherf**ker and the road would have definitely been different had that accident not happened. I say that with all humility, but all confidence.

But it went the way it was supposed to go for a purpose, so my brothers could do what the f**k they was supposed to do. From Snoop Dogg to f**king Shawn Carter, everybody in the thing, along that line. From Eminem to goddamn Lil Wayne, everybody along that line benefits from each other. We stand on each other’s shoulders. And I know that those guys plus a whole lot more heard that No One Can Do It Better record and it did something for him. That was my purpose, bro. So where I’m at now, I’m at The Funeral Is Canceled right now. That’s the new movement, that’s the next mission right? It’s bigger than any record, it’s bigger than any medium, it’s bigger than any motherf**king platform that’s out there and that happens in that documentary. And if you want that and if you want to know about the documentary, reach out to me. Email me and ask me, let’s talk about it. I’m gonna let you know what’s going on.



Vibe: What’s the title of the documentary?



The D.O.C. It’s just me, but it’s really G.O.D. through me showing out. It’s something your mother is going to love, your daughter would love, your homies is gonna love, your grandmother is gonna love. It’s a 50 year-old white boy out there somewhere that’s losing everything else he owns that’s going to not jump off a bridge because of this goddamn movie, mark my word, bro. It’s that real, it’s that deep, I don’t hold nothing back, I give you everything. And it’s just G.O.D.. you know.



Vibe: Do you have a timetable for when the fans can expect it?



It’ll be out this summer. I got dates in mind that I would prefer that feel the best, but I’m still dealing with these distributors, trying to make the right decision because it’s such an important movie, because it’s such a cultural moment. It’s a G.O.D. thing so you have to give it what it deserves in order for me to give it to you. Otherwise, you can’t have it. You know, you got to come on with it. So I’m dealing with these folks, but as soon as somebody step up to the table, we finna put this thing in motion and my hope is it’s before Hip-Hop’s birthday.



Vibe: Artificial intelligence has become a hot topic in Hip-Hop, as a number of rap artists have had A.I.-generated vocals created and turned into songs. What are your thoughts on the subject?



So that question… is this G.O.D. or something else, bro? I mean, it’s crazy because that question for me, on a personal level, is being asked inside this documentary in a way that most people ain’t expecting. It’s f**king crazy, like… I can’t wait for this s**t to come out, bro, it’s crazy. Of course, I would love to hear me do me, so man, it’s hard to answer that question because I understand both sides of these arguments that folks are making. But I would love to hear me do me. And like I said, that question is being asked to me on a personal level in a way that you’re not even ready for inside this documentary. So I don’t want to spoil it for folks by giving it away. So I’ll just say where A.I. is concerned, I understand both sides.