![]() I could hear he was talented and completely there. In a rehearsal garage in South Florida’s swampy scrubland, Robinson heard what Vanilla Ice had been laying down with a band called Picking Scabs. Reese figured that Fate might be knocking Robinson chuckled but agreed to an expenses-paid trip to Miami to see if Ice could be more than a gag line. ![]() ![]() Last spring, he telephoned John Reese, who manages rockers for Laguna Beach-based Freeze Management, and asked him and his client, producer Ross Robinson, to fly to Miami and check out the new-flavor Vanilla Ice.Ĭoincidence was Lipman’s ally: The night before, Reese had watched a video of the film comedy “Austin Powers” in which Vanilla Ice is seen preserved for posterity in a hyperbaric chamber next to Gary Coleman. Lipman’s theory: If Ice could laugh along with the world at the joke that was his past, and gain some musical credibility singing the “new metal” that was big with moshing collegians who had once been Ice-slurping kiddie-pop fans, the gambit could work. His songs sound a lot like the Orange County breakthrough band, Korn, whose producer happens to be behind Vanilla Ice’s latest recordings and is among his new champions.Ī series of low-profile rap gigs Vanilla Ice played in the South starting in 1996 drew well Lipman resolved to play Quentin Tarantino to Ice’s Travolta and engineer a comeback unlikelier than pulp fiction. Now 30, he is back on the touring circuit-including a show Thursday at the Galaxy Concert Theatre in Santa Ana-in hopes of writing a second career chapter in which a ridiculed, lightweight pop-rapper is reborn as a gut-spilling ranter of crunching punk-metal. The Ice joke still works, nine years after “Ice, Ice Baby” (as he styled himself in the title of his big hit) ignited a pop career as instantly disposable as a match head, but not nearly as bright. “Vanilla Ice” is even better: again four syllables, but just two telegraphic words, summoning a ridiculous pop artifact more current, if less fondly regarded, than Henny Youngman. ![]() “Take my wife, please”-four bytes of verbiage likely to raise a snicker, or at least a grimace. A shared immersion in popular culture gives most Americans the linguistic shorthand to crack wise in a matter of syllables. ![]()
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