50 Cent brought out Eminem during his set for Shady 2.0 Showcase in Austin, Texas for SXSW 2012.
Watch here as they perform Patiently Waiting, song off of Get Rich Or Die Tryin’
Vibe caught up with Eminem and Yelawolf for their first joint interview. Eminem hailing from Detroit and Yelawolf from Alabama talked about race, past issues with drugs, and similarities and differences.
Yelawolf’s thoughts on White Rappers using the N-Word
[In Alabama] we have a dark his- tory concerning the relationship be- tween Black and white people. I’m not a role model by any means, but if I said it around the house I got popped in the mouth,” he says, noting that his Black friends used the word as a term of endearment for him as well.
Eminem and Yelawolf talk about their past history with drugs:
You mentioned getting yourself right. Are you completely clean these days as far as alcohol and drugs?
EM: Except for the heroin I shot up this morning. Except for that, I’m clean. [Laughs]
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A couple of nights ago Astro performed Eminem’s “Lose Yourself” on XFactor. In an interview I read he said this performance was for all the people who thought he was and cocky and for the people who write negative things about him on youtube.
Mac Miller releases a new video for his single “Frick Park Market” which is available on iTunes now. Earlier today Donald Trump called him the new Eminem.
Swizz Beatz has been hyping this record up for months and look what we have here. Weezy’s “Dear Anne” is a somber record created with the same inspiration Eminem’s now classic “Stan” was created in. Only this time, Wayne sends letter to Anne who is in someway connected to Stan.
Wayne stays on key the entire time detailing a story of his own troubles while attempting to express his gratitude of her help over the years, whatever that may be. It’s really a dark, yet open record thanks in part to Swizz’s instrumental and Wayne’s storytelling ability. This will NOT appear on Tha Carter IV dropping later this summer.
Earlier today Rap Radar posted the tracklist for Eminem and Royce’s EP check it out below
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While touring in London on his “Underrated Tour” Bow Wow stopped by The Wrap up to talk about signing with Cash Money, his forthcoming album “Underrated” and being underrated.
TWU: So, you recently signed with Cash Money Records. How has the whole experience with the label been for you so far?
Bow Wow: It’s been lovely. It’s been one of the best situations I’ve ever been in, just being over here with Birdman and Wayne and the whole family: DJ Khalid, Drizzy, Nicki, Tyga, Lil Twist the whole nine yards. It’s just fun when you have that many people around you. A lot of people would think it would be chaotic or there would be ego problems, but there are not. Everybody is a hard worker and all that does it make the next artist work even harder, which makes it harder for our competition, people can’t complete with what we’re doing. We’re leading the pack right now.
TWU: So how do you fit in to the whole YMCMB family? You’ve got Young Money and Cash Money, so are you signed to just Cash Money or both?
Bow Wow: I’m Cash Money, but you know we’re all under the same umbrella. It’s all the same thing we screaming out, ‘YMCMB.’ We’re all under one umbrella and that’s what it is, we all fit together well because we’re all so different. Nicki is the first female rapper on the label, Drake is the new artist and you’ve got Wayne, he’s a rock star. Then myself, I’m like the triple threat. I do the movies; I do the music, so we all contribute off of each other. I can open up doors in Hollywood for my team mates and just try to make things easier for them. Nicki wants to do movies; she was supposed to be in ‘Lottery Ticket’, a lot of people didn’t know that. She actually auditioned; I set it up and everything. So that’s just the power that I have, that’s what I can do, so it’s really all about just helping each other.
TWU: You have tilted your new album, ‘Underrated’. What was the reason for this title and why do you feel underrated?
Bow Wow: I feel anyone should feel underrated when you’ve accomplished a lot and people don’t recognise that. In a way it’s cool, because you’re the underdog and I’ve always been a fan of the underdog, you know you want to see them win so bad, you know they’ve got what it takes and that’s basically how I feel. I feel like a lot of dudes who get recognition in the game, I’ve been doing it longer than them and I think people are stuck in the right now, that they forget about the past and that’s one thing that I don’t do. That’s a discredit to somebody’s past and especially their numbers, because like J (Jay-Z) said: ‘They don’t lie, stats don’t lie.’ I just get tired of that sometimes, when you work so hard and you’re passionate about what you do, you want to get acknowledged for it. Other than Eminem and Jay-Z, I can’t tell you another rapper who has sold out Madison Square Garden five times, besides me! I’m in that bracket, but people won’t say that because they are so caught up with the past and Lil’ Bow Wow and are not focused on the current. So the underrated title came from raw emotion, but my mind switches, I might switch the album title. I’ve been shouting that title out, but it could be called ‘Overrated’ tomorrow, it could really be called anything, it’s not confirmed yet.
Over the course of my 20-year history as an executive in the music business and as the owner of a firm that specializes in in-culture advertising, I have come to the conclusion that the Grammy Awards have clearly lost touch with contemporary popular culture. My being a music fan has left me with an even greater and deeper sense of dismay — so much so that I feel compelled to write this letter. Where I think that the Grammys fail stems from two key sources: (1) over-zealousness to produce a popular show that is at odds with its own system of voting and (2) fundamental disrespect of cultural shifts as being viable and artistic.
As an institution that celebrates artistic works of musicians, singers, songwriters, producers and technical specialists, we have come to expect that the Grammys upholds all of the values that reflect the very best in music that is born from our culture. Unfortunately, the awards show has become a series of hypocrisies and contradictions, leaving me to question why any contemporary popular artist would even participate. How is it possible that in 2001 The Marshall Mathers LP — an album by Eminem that ushered in the Bob Dylan of our time — was beaten out by Steely Dan (no disrespect) for Album Of The Year? While we cannot solely utilize album sales as the barometer, this was certainly not the case. Not only is Eminem the best-selling artist of the last decade, but The Marshall Mathers LP was a critical and commercial success that sold over 10 million albums in the United States (19 million worldwide), while Steely Dan sold less than 10% of that amount and came and went as quietly as a church mouse. Or consider even that in 2008 at the 50th Annual Grammy Awards, after going into the night as the most-nominated artist, Kanye West’s Graduation was beaten out for Album Of The Year by Herbie Hancock’s River: The Joni Letters. (This was the first time in 43 years that a jazz album won this category.) While there is no doubt in my mind of the artistic talents of Steely Dan or Herbie Hancock, we must acknowledge the massive cultural impact of Eminem and Kanye West and how their music is shaping, influencing and defining the voice of a generation. It is this same cultural impact that acknowledged the commercial and critical success of Michael Jackson’s Thriller in 1984.
Just so that I’m not showing partiality to hip-hop artists (although it would be an entirely different letter as to how hip-hop music has been totally diminished as an art form by this organization), how is it that Justin Bieber, an artist that defines what it means to be a modern artist, did not win Best New Artist? Again, his cultural impact and success are even more quantifiable if you factor in his YouTube and Vevo viewership — the fact that he was a talent born entirely of the digital age whose story was crafted in the most humble method of being “discovered” purely for his singing ability (and it should be noted that Justin Bieber plays piano and guitar, as evidenced on his early viral videos).
So while these very artists that the public acknowledges as being worthy of their money and fandom are snubbed year after year at the Grammys, the awards show has absolutely no qualms in inviting these same artists to perform. At first I thought that you were not paying attention to the fact that the mental complexion of the world is becoming tanned, that multiculturalism and poly-ethnicity are driving new meaning as to what is culturally relevant. Interesting that the Grammys understands cultural relevance when it comes to using Eminem’s, Kanye West’s or Justin Bieber’s name in the billing to ensure viewership and to deliver the all-too-important ratings for its advertisers.
What truly inspired the writing of this letter was that this most recent show fed my suspicions. As the show was coming to a close and just prior to presenting the award for Album Of The Year, the band Arcade Fire performed “Month of May” — only to… surprise… win the category and, in a moment of sheer coincidence, happened to be prepared to perform “Ready to Start.”
Does the Grammys intentionally use artists for their celebrity, popularity and cultural appeal when they already know the winners and then program a show against this expectation? Meanwhile the National Academy of Recording Arts and Sciences hides behind the “peer” voting system to escape culpability for not even rethinking its approach.
And I imagine that next year there will be another televised super-close-up of an astonished front-runner as they come to the realization before a national audience… that he or she was used.
You are being called to task at this very moment, NARAS.
And to all of the artists that attend the Grammys: Stop accepting the invitation to be the upset of the year and demand that this body upholds its mission for advocacy and support of artistry as culture evolves.
Demand that they change this system and truly reflect and truly acknowledge your art.