Tony Yayo and Millyz Talk Eminem, 50 Cent, and the G-Unit Legacy

The latest episode of The Real Report podcast brought together a powerhouse lineup as Millyz sat down with Tony Yayo and Uncle Murda for a deep dive into rap history. The conversation inevitably turned toward the monumental impact of the Shady/Aftermath era, specifically focusing on the careers of Eminem and 50 Cent. For Yayo, who was on the front lines of G-Unit’s meteoric rise, the respect for Marshall Mathers remains absolute, both as a person and a lyricist. “Nobody can says something bad about Eminem. Not because he wore Free Yayo shirt at the Grammys but I feel like he’s one of the best MCs of all time,” Yayo stated, emphasizing that his loyalty is backed by an objective respect for the craft.

Millyz was quick to echo these sentiments, cementing Eminem’s status in the pantheon of greats. “That’s my GOAT,” said Millyz, prompting Yayo to reflect on the business move that changed the trajectory of hip-hop in the early 2000s. Looking back at the partnership between the Queens-based collective and the Detroit and West Coast moguls, Yayo noted, “G-Unit signing with Eminem and Dr. Dre was the best deal.” This alliance did more than just sell records; it created a cultural shift that bridged different styles and demographics under one banner.

For Millyz, the emergence of Eminem was a pivotal moment of personal identification. He described the visceral experience of watching the Shady era unfold as a young fan, finding a unique connection to Eminem’s persona. “You don’t understand how that s–t felt as the kid watching that s–t. Em was the only super relatable rapper to me because he rapped about things that was literally me. He was showing the crazy side of white people and I was jacking it. He was such a lyricist and then I’m listening to 50 Cent, when them s–t merged it was like my favorite rapper and my favorite rapper going crazy together,” Millyz recalled.

The sheer dominance of that era was unparalleled, and Millyz used a sports analogy to illustrate the scale of Eminem’s peak performance and influence. Comparing Eminem to a legendary NBA dynasty, he highlighted the unstoppable nature of the Shady Records run. “I’ve never seen no s–t like that. Em is a juggernaut, Em is like a Celtic with Bill Russell when they won 11 chips in a row,” said Millyz. This level of success wasn’t just reflected in record sales, but in the massive, high-stakes environment of their live performances.

Tony Yayo reminisced about the scale of their tours, specifically the legendary Anger Management trek, which saw Eminem and 50 Cent performing at the absolute height of their powers. Unlike standard rap shows, these were global events that filled the largest venues in the world. “My illest experience in life was being on Anger Management tour with Em in his prime, 50 in his prime. Not arenas, stadiums! That was a movie. That tour with Eminem was the illest tour in my life,” Yayo shared, describing a level of production and energy that few in the industry have ever matched.

Beyond the stage, Yayo offered a glimpse into the discipline and security that surrounds a figure of Eminem’s stature. He described the logistical precision required for even the simplest activities, likening the rapper’s movements to that of a world leader. “Eminem moves like a president. If Eminem went Tacos, that s–t going to ten different n-ggas like ‘Eminem going to Tacos, get ready. That n-gga moves like a president,” Yayo explained. This high level of organization was often a necessity, given the intense scrutiny and occasional hostility they faced. “We were getting a lot of hate because Eminem is white. So mmotherf–kers were hating on him cause white motherf–er was winning. He had balls,” Yayo added.

The podcast also touched upon the technical brilliance that happens behind closed doors. Yayo dismantled the idea that Eminem is just a “rapper,” describing him instead as a “mad scientist” of sound who is deeply involved in the production and instrumentation of his projects. “Eminem has separate studio cause he wants to be in his own zone. Eminem a type of n-gga who has 20 instruments. He’s a perfectionist. People don’t understand, they think he’s just a rapper. He’s a producer too. When we get in the studio with them n-ggas, they are like mad scientist. It ain’t no just ‘yo, put the beat on.’ Nah, it’s a mad thought going into the s–t. Every album is like a movie. That’s what Dre and Em did on ‘Get Rich Or Die Tryin’‘.”

The discussion concluded with a humorous yet telling anecdote from Millyz about the persistence of Eminem’s image in the public consciousness. Even years later, as a successful artist in his own right, the shadow of the “Rap God” follows him into everyday situations. “The Eminem s–t went so far for me that I’ll be at a random place and waiter be like ‘Look, Eminem!'” Millyz joked. It serves as a testament to the fact that while many rappers come and go, the influence of the Shady/G-Unit era remains a permanent fixture in the cultural landscape. You can watch the interview below: