One of the Hollywood’s power players, Anthony Mackie, whose latest film, Outside the Wire, is currently trending on Netflix, has recently visited Hot Ones on First We Feast where the host asked the actor how did he prepare for a Papa Doc role in Eminem’s 8 Mile movie, on which he replied:
“You know what’s interesting? I find myself very lucky to have studied Shakespeare. When you look at Shakespeare, the way he wrote, he wrote in verse. So the idea of approaching a rapper from the perspective of an actor, you are really just speaking in poems. I always said, one of the greatest rappers that ever lived was William Shakespeare. So It helped a lot as far as being able to understand the cadence, the verse, the meter and putting those words in rhyming couplets and into form.”
At the age of 18, Ryan Smith aka ‘Spidey’ moved to Los Angeles with $280 and a gas-guzzling Jeep with no roof or doors to his name. His dream of becoming a music video director was quickly realized when he commissioned his first video for multi-platinum selling artist Bone Thugs N’ Harmony. Since then, he has directed more than 150 music videos, and has worked with superstars across all genres of music such as Eminem, Duran Duran, Good Charlotte, Xzibit, Gavin DeGraw, 3 Doors Down, Shinedown and Cyprus Hill, to name a few.
Spidey Smith has also directed Yelawolf’s music video of “Best Friend,” featuring Eminem from the “Love Story” album. Yesterday, Spidey dedicated an Instagram post to the day of shooting the video and revealed something that we never heard before.
Spidey tells the story: “This was my second time working with Eminem !! The first time directing him I was 22 years old… Young and naive to say the least. Simply stoked to have him in front of my lens. This go around I was 40 and a hell of a lot more seasoned..
As a director it’s extremely important to check in with the artist periodically while capturing their performances to gauge their feelings about how they are seeing themselves on the playback monitor. Midway through Em’s church performance, he and I were chatting about his shots ..
Me: “Em how you feeling about what you’re seeing ?
Em extremely serious and straight faced in front of everyone: “I don’t know man.. I’m just not feeling it. It’s probably me.. I don’t know… Maybe I’m off or something. I wish I knew what to tell you.”
This went back and forth for what seemed like eternity but in actuality was 2 or 3 minutes. I was beginning to sweat but contained my sudden panic.
Me: “I think I know what you are needing. Let me fix .. (I really had no clue… I just wanted to remove myself to think quickly and clearly haha)..
As I began to walk back to set to sort out anything I could think of, Em yells, “Yo Spidey ! Haha I’m just f**kin’ with you ! I love everything haha! “
Shortly after Paul Rosenberg whispers at me and says, “ that’s how ya know Em likes you !”
I’ve never felt more relief while on set than that moment !”
In one of the recent episodes of The Brilliant Idiots, Charlamagne Tha God and Andrew Schulz talked about the recent trend on TikTok where the users are trying to cancel Eminem.
Charlamagne Tha God: TikTok is trying to cancel Eminem. I think it’s funny as f**k when kids go back to the eras where they should not be even playing around. If you were talking to a child, you will be like ‘don’t go in that 90’s box.’ Thy are just playing old Eminem lyrics and doing what outrage culture does. Trying to build a case against Eminem. But I’m going to tell you why it will never work. THAT’S EMINEM’S WHOLE STICK.
Andrew Schulz: Yeah, it’s tricky man, because if you go back and listen to some Eminem songs or even like skits, Eminem was one of the wildest people in history bro.
Charlamagne Tha God: “Eminem was the reason we thought we could get away with that type of s**t. [Laughs] For real though. In the era we grew up where there is a bar so if you are growing up in entertainment, you are performer, you are rapper, comedian, radio personality, if your bars are the Howard Sterns and The Stars and Eminem, all these people you hear saying wild s**t, what are you supposed to do? It’s crazy but the funny part is seeing little kids being upset about it. You are not going to build a case against Eminem. You know why? Cause all the people who have a power to ‘cancel’ or whatever the f**k that means, they grew up loving Eminem too. Eminem was one of the biggest stars in the world and at one point THE BIGGEST STAR. He was everybody’s guilty pleasure. I never was a fan. I respected him as a lyricist but I never was a die-hard Eminem fan. But he has a lot of die-hard fans.
Battle rapper Daylyt has recently done an Instagram Live session where he talked about why Eminem’s “Lose Yourself” is the anthem for anyone who is battling anything and what is the difference between prime and today’s Eminem.
“Prime Em… What Eminem does with his rhyme pattern is so amazing bro. It’s Amazing. Then I’m listening to doubles and stacks and the passion he puts in his verse. Yo, Em is so fire. Prime Em, ni**a’s so fire. I’m listening to this “Lose Yourself” song and I’m thinking of the setup of that record and as a battle rapper and a person that has stepped into any battle, I don’t just mean battle rap, I mean basketball games, sports, anything that was a moment that could shift your life, this song spoke to you. Any moment in life where you go. This record is for all those moments. And I think about that all the time, like, yo, that’s fire!”
“I just when through Em’s whole catalog and then I went though new catalog and I realize what is the problem with Em right now. Em has grown, mentally, physically, spiritually. He can’t rap about the things he rapped no more. But mainly, I’m gonna tell you, mainly what is hurting Eminem. Right now, it’s beat selection. Em is trying to do what he normally does over modern beats and he’s traying to add modern style production inside of his ability. Like, when you are adding water and oil together, it just don’t mix. If Em is to get on some boom bap, some heavy boom bap s**t…BOY! We need Eminem and Alchemist. We need Eminem and Dilla. We need Eminem and Willie D. We need Eminem on whoever produces for Conway The Machine. We need Em and them type of ni**as bro. Em will do DAMAGE if he gets back to those type of beats. Em would do an ultimate damage. And I’m only saying this because I want to put energy out there and hopefully Eminem is watching this. And hopefully somebody that’s related to Eminem is watching this. And tell Em I said this personally.”
“At the Eminem universe, they hate me and love me because I’ve been f**king with Em so much. And I troll a lot because I’m a fan. That’s what fans do. They troll and say opposite of how they feel. I’ve been listening to a lot Eminem and other than that, I’ve been listening to a lot of Ice Cube, Tupac, Kendrick Lamar, J. Cole…”
Late rapper Pop Smoke hit an impressive feat on the Billboard’s Top R&B/Hip-Hop album chart in the United States . Just a few days ago, Billboard reported that Pop Smoke’s posthumous album, Shoot For The Stars, Aim For The Moon, which is executive produced by 50 Cent, reached an accolade that was unseen in 30 years on its Top R&B/Hip-Hop Albums chart.
According to the Billboard, Pop Smoke’s album is the longest-running No. 1 on Top R&B/Hip-Hop album chart since 1990 (in the last 30 years), leading the chart for the 17th week. The record was held by Eminem’s 2010 album, Recovery which spent 16 weeks on the charts. Overall, legendary rapper M.C. Hammer’s Please Hammer, Don’t Hurt Em album, dominated the chart for 29 weeks back in 1990.
A hatred campaign against one of the greatest rappers of all time, Eminem, has recently started on TikTok by likely bored Gen-Z who attempted to bring down Eminem once and for all. The reason? A violent lyrics used by Eminem on “Love The Way You Lie,’ featuring Rihanna.
In an apparent response to the viral movement, Eminem came through to unleash some animated visuals for “Tone Deaf,” a song from his latest album, Music To Be Murdered By, as the lyrics of the song references cancelation lines: “I won’t stop even when my hair turns grey, ’cause they won’t stop until they cancel me,” raps Eminem.
Though the clip is only an animated lyric video, one has to once if it foreshadows a more substantial clip to come — after all, there are plenty of vivid images found throughout that would feel right at home in an Eminem video. You can watch it below:
KXNG Crooked has recently sat down with Math Hoffa’s latest episode of ‘My Expert Opinion’ series where the Death Row legend remembered the times when he was asked to diss Eminem and Dr. Dre:
“We just talked about me being on Death Row Records and to slide over there and to be able to… Being myself. I always tell artists to do this. It’s a life jewel, really, but for artists, in particular, be yourself. I was on the radio, live with Ja Rule, Irv Gotti, and Ja played that joint “Loose Change” that he had dissing Eminem where he said uh some real crazy stuff about Em’s daughter and all that. He premiered it on the radio, and you know, it was lit, he was at it. And the host was like, ‘Yeah, so Crooked, you’re up next. You’re about to send some shots to Dre and Em, you got something for them?’ And I was like, ‘Nah, that’s not my beef. I just got over here, you know. I’m trying to make great music. I’m trying to bring that back to the W. That’s my focus, Yo, Dre is the greatest producer ever. Sounds like Em got bars and all that’. The gist of what I was saying was I don’t believe that Suge brought me to Death Row to be a wind-up doll, go after people, and to be a paper soldier. I believe that it was something deeper than that, and I don’t have any problem with these guys. I don’t even know what this whole shit is about, I just got here. What I’m gonna do, just jump in?”
“And little did I know… I was at record store Fat Beats. I was about to do this mixtape called Young Boss vol. 1, and half of the beats was going to be Chronic 2001 beats, and the other half was going to be DJ Premier beats. So I went to Fat Beats, got The Chronic 2001 instrumental vinyl, and my phone rang. That was Dre. I was off Death Row at the time, and he was like, ‘Yo, I heard you that night when you was on the radio. Me and Em was listening’, or some to that effect. And he was like, ‘Yo, you never took a shot. Every time they try to get you to shoot at me, you never did’. And he said, ‘I respect the f**k out of that. So, you know, you want to get down, holla at me’.”
“I truly believe that that night is one of the reasons why I was able to have a Death Row past and still be able to go over there to Shady and have a future, and it’s all good. It would have been easy for me to say, ‘Hell yeah, f**k them ni**as, let’s go’. That was easy. But I was like, ‘Nah, I’m not gonna do that’. And that’s just what was on my heart.”
Couple of days ago, Detroit’s one of the most uniquely talented rapper Nasaan hit Twitter to reveal to his fans how Eminem inspires him when he feels down:
“So crazy cause I feel old as f**k. I’m 22 and get mad I am not a megastar but then I will talk to Eminem and he will be like ‘Man, I wish I was where you were when I was at your age or that advance musically.’ That s**t makes me feel a lot better.”
Check his tweet below:
so crazy cuz i feel old af (22) and get mad i’m not a megastar but then ill talk to Em and he’ll be like “Man, i wish i was where you were when i was your age or that advance musically”
In a new interview with HotNewHipHop, Aftermath producer Dem Jointz opens up about working with Dr. Dre and the working process with Eminem on his latest album, “Music To Be Murdered By”
Interviewer: Before we wrap, I see your name in the credits for Eminem’s latest album. I was curious about what those sessions were like? What was your approach to working with Eminem?
Dem Jointz: It was super dope. We were collaborating in the studio and Eminem came down to LA to be creative with us. They shut it down to where he had his studio in the back and we were working up front. It was super dope because he would hear us bumping something and he would come up behind us like “What was that? Play it again.” He’ll be in his head and then be like “Can you send me that?” and then go back to the room. It’s crazy that he can create something that can make someone double-take like that. It was dope. It was like when we did “Medicine Man” you hear Eminem on your track and it’s like WOW this is crazy! Let me try making this the best thing ever.
Eminem’s total streams on Spotify have just surpassed 25,000,000,000. That includes all credits: Himself, Features, D12 and Bad Meets Evil. By reaching this accolade, Eminem became the first and the only artist from 90s music acts to hit 25 billion streams. In total, only 6 artists managed to do so.
The Rap God has also just celebrated his two songs hitting 1 billion streams each on the platform: “Lose Yourself” and “Till I Collapse.” His followers count also surpassed 42 million on Spotify with almost 39 million monthly listeners.
.@Eminem has surpassed 25 BILLION streams on Spotify (all credits).
— He’s the FIRST & ONLY act from the 90’s to reach this milestone (6th overall). pic.twitter.com/NH0bxIygF3
Lil Pump has recently hit Fat Joe on his Instagram Live where the two talked about different topics, including why Lil Pump supported so much Donald Trump and why he dissed Eminem in a short clip on Instagram. When Fat Joe asked the Eminem question, here is what he replied:
“Who? Eminem? I don’t remember that. I even told you that was my fault. I was asleep. I’m so sorry about that.”
You can watch the video below. Fat Joe’s reaction was priceless though. Hahah
Few months ago, Eminem’s iconic track “Lose Yourself” surpassed 1 billion streams on Spotify. To celebrate the achievement, Eminem shared a short video clip, dedicated to the accolades of the song.
Eminem’s manager, Paul Rosenberg re-shared the video and told some inspiring story of how Eminem was creating his magnum opus: “I know you guys have probably already seen or heard about this but I had to post it too. Eminem recorded and wrote “Lose Yourself” on the set of 8 Mile movie. Whenever we had a break or down time he would run into the studio trailer and get on the mic or tweak beats when most actors would have been catching up on their rest or having a meal. In fact, Marshall wrote lyrics in his notebook (or sometimes to the dismay of the continuity watchdogs on his palms) while crouching in the corner with headphones on in between takes. Most artists do not have the good fortune of writing a classic like this under ideal circumstances let alone those described above. Its success and longevity is a testament to the dedication and genius of a rare level of talent and artistry. Congrats, Marshall! Really impressive stuff!”
