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Eminem & Rihanna’s Monster Tour Roars to Life at Rose Bowl: Concert Review

Eminem & Rihanna's Monster tour kicked off at the Pasadena Rose Bowl on Aug. 7. Read our review of the co-headlining stadium tour

By Steve Baltin

Steve Baltin

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Eminem and Rihanna perform on the The Monster Tour

Eminem & Rihanna ‘s long-awaited Monster tour, which kicked off Aug. 7 in Los Angeles at a sold-out Rose Bowl, is billed as a co-headlining tour between the two music superstars, and the pair treated the show as if they were equals, starting and ending together. However, sharing the stage with Eminem is like playing one-on-one with LeBron James or acting with Daniel Day-Lewis. Eminem is, as he reminded everyone last weekend at Lollapalooza , one of the half dozen most compelling performers in music today.

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That was evident from the outset of the show, which opens with a short Silence of the Lambs -inspired film that finds Sopranos star Michael Imperioli walking Rihanna down a San Quentin prison hall. As she saunters into a cell, just the back of Eminem’s head and trademark blonde hair appeared on the screen and the Rose Bowl crowd lost their collective minds.

Keeping with the motif in the opening “Numb,” Rihanna started the show on her own, only to have a platform rise on the side of the stage where Eminem, strapped to a stretcher a la Hannibal Lecter, emerged mid-song. Like the Jay-Z and Beyonce On The Run tour (both shows hit the Rose Bowl this week, coincidently) there is a fair amount of interaction between the two headliners.

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Following “Won’t Back Down,” the Rihanna portion of the night, which lasted for almost an hour, began with her highlighting her vocals on an impressive and impassioned “What Now.” The song was one of her highpoints, along with the gorgeous “Stay” and the reggae track “Man Down,” and the dance-heavy “Where Have You Been.”

The one drawback to Rihanna’s set, which admittedly had fans going crazy, was how produced it felt at times, with the numerous backup dancers joining her for choreographed moves on songs like “Cake” and “Rude Boy,” distracting from the performance. It’s hard to digest her pop polish when she’s on the same bill with someone as raw and intense as Eminem. Every time Marshal Mathers emerged on stage, he was a lightning rod for attention, like when he reappeared at the end of her set to join in on a stunning “Love The Way You Lie.”

After the song ended and Rihanna walked offstage, Eminem said simply, “California, let’s go!” And with that, the Monster tour went off. “Square Dance,” “Marshall Matters,” “Stan,” with Rihanna singing the Dido “Thank You” refrain,” an anthemic “The Way I Am,” “Berzerk” — it was one knockout performance after another. And his lightning speed delivery on “Rap God” was simply jaw-dropping.

Eminem & Rihanna Share Instagram Pic of Final Rehearsal

Just as Rihanna’s best moments came when she let her stage persona go and showed her warmth, Eminem shone as he introduced “I’m Not Afraid.” “This song I want to dedicate to anyone who ever lost anyone to addiction,” he said, referencing his own battles with the disease by adding, “I could not have gotten through it without you.”

Rihanna then returned for her encores, coming back for both “Diamonds” and “We Found Love,” before Eminem delivered “Lose Yourself.” Fittingly, the almost three-hour show ended with both performing “The Monster.”

Set List (+ both/ * Rihanna solo/ ** Eminem solo)

“Numb” + “No Love (Don’t Hurt Me)” + “Run This Town” + “Live Your Life” * “Crack a Bottle” ** “Won’t Back Down” + “What Now” * “Phresh Out the Runway” * “Cake” * “Talk That Talk” * “Rude Boy” * “What’s My Name?” (remixed with Trey Songz’ “Na Na”) * “Pour It Up” * “Cockiness (Love It)” * “Man Down” * “You Da One” * “Wait Your Turn” * “Jump” * “Umbrella” * “All of the Lights” * “Rockstar 101? * “Where Have You Been” * “Stay” * “Love the Way You Lie” + “3 a.m.” ** “Square Dance” ** “Business” ** “My Dad’s Gone Crazy” ** “Evil Deeds” ** “Rap God” ** “Marshall Matters” ** “Still Don’t Give a F–k” ** “Criminal” ** “The Way I Am” ** “Airplanes” (Paramore cover) + “Stan” + “Like Toy Soldiers” ** “Forever” (Drake cover) ** “Berzerk” ** “Till I Collapse” ** “Cinderella Man” ** “The Real Slim Shady” ** “Without Me” ** “Not Afraid” ** “Diamonds” * “We Found Love” (Acoustic & Regular Versions) * “Lose Yourself” ** “The Monster” +

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Eminem And Rihanna For Joint 'The Monster' Stadium Tour In US This Summer

24 February 2014, 10:27

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The 'Rap God' star will tour alongside Rihanna in August on a joint outing.

Eminem has confirmed he will be heading out on a stadium tour of the US this summer alongside Rihanna.

The pair teamed up for Eminem's single 'The Monster' at the end of last year, and will now play a three-day joint tour together in August.

"There are some shows coming up with Rihanna," Eminem confirmed to XXL Magazine this month. "It's a three-city tour.

"New York, LA, and Detroit coming in August," he added. "The Monster Tour".

Rihanna and Eminem have previously teamed up their collaboration 'Love The Way You Lie', before reuniting for 'The Monster' on Eminem's album 'The Marshall Mathers LP 2'.

Rihanna is currently working on new music ready for the follow-up to her 2012 album 'Apologetic'.

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Eminem and Rihanna Launch Rebellious, Unpredictable Monster Tour

By Matt Diehl

Bey  and Jay , and now  Eminem and Rihanna : The package tours ruling summer 2014 definitely have a superstar Sonny and Cher vibe, pairing hip-hop testosterone with a female vocalist of equal power. That dichotomy was clear from the kickoff of the six-date, three-city “Monster Tour” last night at the Rose Bowl in Pasadena, California. At 8:15 p.m., the concert began with a short film paying homage to Silence of the Lambs . Here, Rihanna visits San Quentin Maximum Security Prison, where she’s escorted by a warden (played by The Sopranos’ Michael Imperioli) who leads her to an Eminem bound-up Hannibal Lecter-style. The warden bursts into a massive array of fireworks; Eminem, strapped to a hospital bed, is lowered onto a stage shimmering with elaborate multimedia effects; and after all that, the music finally begins.

The Rihanna-Eminem collaboration “Numb” actually launched the show, starting a six-song joint performance that set the tone for the rest of the evening. Immediately, the contrast between the two headliners was evident in their stage wear. Rihanna wore white Doc Martens and a dramatic drop-crotch ensemble emblazoned with hot rod flames, baring her midriff with a short top; Eminem, meanwhile, made his entrance in inner-city everyman mufti – dark camo bomber jacket, black hoodie, G-Shock, cargo pants and Nike Air Maxes. Backed by a crack 10-piece band (horn section included), the pair’s music blended more fluidly. It was great, for instance, when Rihanna’s interpolation of her Jay Z/Kanye collaboration “Run This Town” flowed seamlessly into Eminem’s verse from another Jay Z track, “Renegade.”

Seven songs in, Eminem exited the stage and Rihanna launched into a 17-track solo set full of crystalline, non-Auto-Tuned vocals. “Phresh Out the Runway” introduced the first of perhaps 1,000 lascivious crotch grabs as well as kinetic choreography involving a line of dancers clad in black S&M gear. Not since Madonna has a mainstream star owned her sexuality the way Rihanna did here, but the singer also remained playful and fun, using phallic missile graphics to accompany her “Rude Boy” pelvic thrusting.

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The near-capacity crowd ate up her every twerk and gyration, accompanying her through vigorous call-and-response sing-alongs on uptempo hits like “Umbrella” as well as ballads like “Stay.” For the latter, Rihanna put the elaborate dance moves and lighting effects on pause, holding the audience with little more than piano and voice for the night’s biggest iPhone-aloft moment. Her solo take on Kanye’s “All of the Lights” proved equally sublime, even more stirring than on record.

Eminem and Rihanna’s initial chart-buster “Love the Way You Lie” transitioned into Eminem’s main solo set. Playing 20 songs culled across his career, the iconic Detroit rapper ran across the stage and contorted his body for emphasis, but this movement never overshadowed his superlative MC skills – undiminished, if not better than ever. Naturally, hits like “The Real Slim Shady” and “Without Me” inspired mass rap-alongs, but the blinding double-time flow on his blowout verse from Drake’s “Forever” and especially “Rap God” reiterated that if hip-hop has a Hendrix, a prodigy who just continues to astonish with talent and innovation, it’s likely him.

Toward the middle of his set, Rihanna returned to duet on Paramore’s “Airplanes” and “Stan,” bringing her own brand of beautiful, wounded melancholy to Dido’s immortal refrain before Eminem launched into more recent material. “Berzerk” proved a standout here, living up to its title with a wild, manic reading driven by its pounding, Rick Rubin-enhanced classic rock big beats.

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The show climaxed with another joint mini-set kicked off by a pair of particularly euphoric Rihanna hits: “Diamonds” and “We Found Love,” which started out as a bongos-and-acoustic beatnik workout before coalescing into its more familiar EDM version, replete with Daft Punk-style pyramid rave imagery projected on the jumbo screens lining the stage. The night’s most anthemic moment, however, was the soaring take on Eminem’s soundtrack smash “Lose Yourself” that followed, setting up a closing performance of the tour’s namesake duet.

“The Monster” appropriately summed up the themes that link these seemingly disparate performers: Both, in their own distinct ways, often use their art to expose their private demons. This tendency made the event still feel a bit more rebellious, unpredictable and raw than the typical big-name stadium concert. That nervy aspect became especially clear towards the end, when Rihanna thanked the audience “for rocking out with your cock out.” Likewise, as Eminem exited the stage for the last time, he rewarded the ecstatic, roaring crowd by double-flipping them the bird – still Slim Shady as he ever was, creating unwholesome family entertainment for all.

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Eminem And Rihanna Play 48 Songs As They Kick Off 'The Monster' Tour

8 August 2014, 09:46

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It was one of the most anticipated tours in recent history, and Eminem and Rihanna didn't disappoint at they kicked off 'The Monster' tour in Pasadena, California last night (7th July) with a 48 song set.

The concert saw Eminem and Rihanna alternately intertwine their back catalogues, as well as share the stage during collaborations including 'The Monster' and 'Love The Way You Lie'.

The gig has only just finished, but fortunately these Instagram videos give us a taste of what went down. (Warning: these videos contain strong language that some people may find offensive.)

Here's Eminem performing 'Love Yourself.

While Rihanna completely shut things down with her T.I. collaboration 'Live Your Life'.

Eminem and Rihanna go head to head.

And the pair also collaborated on their hit 'Love The Way You Lie'.

And 'The Monster'.

Eminem and Rihanna's tour continues tonight in California before calling at major cities all across the US.

Eminem and Rihanna's 'The Monster' tour setlist:

1) “Numb” – Both 2) “No Love (Don’t Hurt Me)” – Both 3) “Run This Town” – Both 4) “Live Your Life” – Rihanna 5) “Crack a Bottle” – Eminem 6) “Won’t Back Down” – Both 7) “What Now” – Rihanna 8) “Phresh Out the Runway” – Rihanna 9) “Cake” – Rihanna 10) “Talk That Talk” – Rihanna 11) “Rude Boy” – Rihanna 12) “What’s My Name?” – Rihanna (remixed with Trey Songz’ “Na Na”) 13) “Pour It Up” – Rihanna 14) “Cockiness (Love It)” – Rihanna 15) “Man Down” – Rihanna 16) “You Da One” – Rihanna 17) “Wait Your Turn” – Rihanna 18) “Jump” – Rihanna 19) “Umbrella” – Rihanna 20) “All of the Lights” – Rihanna 21) “Rockstar 101″ – Rihanna 22) “Where Have You Been” – Rihanna 23) “Stay” – Rihanna 24) “Love the Way You Lie” – Both 25) “3 a.m.” – Eminem 26) “Square Dance” – Eminem 27) “Business” – Eminem 28) “My Dad’s Gone Crazy” – Eminem 29) “Evil Deeds” – Eminem 30) “Rap God” – Eminem 31) “Marshall Matters” – Eminem 32) “Still Don’t Give a F–k” – Eminem 33) “Criminal” – Eminem 34) “The Way I Am” – Eminem 35) Paramore’s “Airplanes” – Both 36) “Stan” – Both 37) “Like Toy Soldiers” – Eminem 38) Drake’s “Forever” – Eminem 39) “Berzerk” – Eminem 40) “Till I Collapse” – Eminem 41) “Cinderella Man” – Eminem 42) “The Real Slim Shady” – Eminem 43) “Without Me” – Eminem 44) “Not Afraid” – Eminem 45) “Diamonds” – Rihanna 46) “We Found Love” (Acoustic & Regular Versions) – Rihanna 47) “Lose Yourself” – Eminem 48) “The Monster” – Both

(S/O to Just Jared for the info.)

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Eminem & Rihanna Team Up for 3-City ‘Monster’ Tour

The performers will hit New York, Detroit and Los Angeles in August

Jethro Nededog

Eminem and Rihanna are hooking up again. The artists will be co-headlining a three-city tour in August.

Dubbed the “The Monster” tour after their most recent collaboration on the single of the same name last year, the singers will perform in New York, Detroit and Los Angeles.

Eminem broke the news in the current issue of hip-hop and rap magazine, XXL, and on Twitter, which Rihanna retweeted.

NYC/DET/LA this August with @Rihanna ! #TheMonsterTour – http://t.co/ilA9IqOgIa — Marshall Mathers (@ Eminem ) February 22, 2014

Also read:   Eminem’s ‘Marshall Mathers LP 2’ Scores Second Biggest Sales Week of 2013

Their fourth collaboration with one another, “The Monster” appears on Eminem ‘s eighth studio album, “The Marshall Mathers LP 2.” The single was released last October and topped several international Billboard 100 charts. It’s also Eminem ‘s first No. 1 single on the U.S. Hot R&B/Hip-Hop Songs chart.

Previously, Eminem and Rihanna collaborated on the singles “Love the Way You Lie” and its sequel in 2010 and “Numb” in 2012.

Mathers is currently touring in Australia for his “Rapture Tour” with Kendrick Lamar, who performs on the single, “Love Game.”

Also read:   Chris Brown and Rihanna Top YouTube’s Favorite Love Songs List

Rihanna wrapped her 96-city “Diamonds World Tour” last November.

Watch “The Monster” video above.

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PopCrush

Rihanna + Eminem Announce The Monster Tour Dates

The partnership between  Rihanna  and Eminem  isn't merely one of hit singles. The twosome, who followed up the smash 'Love the Way You Lie' with 'The Monster,' will also hit the road together for this summer's The Monster Tour.

So far, they've only released three dates for the trek and we're not sure if there will be more. Perhaps. Or it may just be a trio of shows that fans in the two major metropolises -- Los Angeles and New York -- get to see, along with those fans in Em's hometown of Detroit. We'll hurry up and wait for more info.

Tickets are on sale on March 28.

Rihanna + Eminem The Monster Tour Dates

8/7 – Rose Bowl | Los Angeles, Calif. 8/16 – Metlife Stadium | New York City, N.Y. 8/22 – Comerica Park | Detroit, Mich.

BTW, we'd like to point out that Metlife Stadium is in New Jersey, not NYC, even though it's being promoted as such. The venue is a mere few miles outside of Manhattan, but it's still in Jersey and is where the Super Bowl was just played.

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The Other Rap/Pop Duo Tour Closes It Out Strong in Eminem’s Hometown

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On Saturday, August 23, 2014, a capacity crowd of around 45,000 filled Comerica Park in Detroit, Michigan, for the final night of Eminem and Rihanna’s six show Monster Tour run.  Over the course of 2.5 hours, the two powerhouse performers went through over 50 songs, which included hits both new and old.  Yes, the video segment leading up to the artists emerging on stage was dope, and Rihanna looking sexy and cool the whole time was captivating, but, based on the vibe of those who were in attendance, Mr. Mathers was clearly still the main attraction.  Plus, with the Motor City skyline in sight, it is impossible to put into words the electricity that culminated when Em came out on stage alongside his co-headliner in front of his hometown audience.

After an opening segment where the two superstars performed a few ditties together, including their 2012 collaboration, “Numb,” and a cool rendition “Run This Town” where Eminem kicked a “Renegade” verse over that beat, the stage became Rihanna’s.  The 7-time Grammy winner not only delivered stellar performances of smash singles like “What’s My Name?” and “Umbrella,” but, with the assistance of back up dancers, provided the showmanship needed to support the upbeat nature of many of her high-energy records.  The highlight of Rihanna’s solo set though was her singing her ballad, “Stay.”  Taking in the thousands of lighters and cell phone lights against the night sky was truly an amazing experience.  Keeping with the mellow tone of that song, she then transitioned into “Love the Way You Lie” via Skylar Grey’s version with her sung verses in addition to the popular chorus.  Not surprisingly, Eminem then came out  to join Rihanna and spit his bars.  It was there that the show was passed off to him.

With hype man and collaborator Mr. Porter by his side, Eminem proceeded to go through his catalog of hits.  Material from his lesser acclaimed albums such as Encore and Relapse didn’t receive as much airtime as tracks from his other LPs, but he did deliver a powerful rendition of “Evil Deeds.”  Having seen him perform this almost a decade ago on The Anger Management 3 Tour , Em’s performance of the haunting Encore song opener this go round was a vast improvement and it left a lasting impression.  Watching him perform “Rap God” immediately  after proved he was just that.  While the crowd rapped along with every other part, it stopped at the 4:26 mark in the record and watched in awe as Eminem had “lyrics coming at [them] at supersonic speed” live.

One of the greatest moments in Eminem’s set was when he brought back his Slim Shady persona and did “Just Don’t Give a F**k” and “Still Don’t Give a F**k” one right after the other.  Rihanna then briefly accompanied Em for the choruses to “Airplanes Pt. II” and “Stan.”  He later, in the midst of other noteworthy records, paid homage to Proof and Nate Dogg during “Like Toy Soldiers” and “‘Till I Collapse” respectively.  And to close out his portion of the show, he ended with the Oscar-Winning “Lose Yourself.”  The night’s musical finale was Rihanna and Eminem sharing the stage one more time for a fireworks inclusive performance of  their #1 song, “The Monster.”

However, the show wasn’t over!

It was all fantastic.  The turnout for the last night of Monster and non-stop roaring excitement  in response to the great music spoke volumes.  The performers’ appreciation for the audience wasn’t withheld either.  From Rihanna thanking Detroit for making her feel at home to Em thanking everyone for their support before launching into “Not Afraid” to Mr. Porter’s “Thank God” shirt, the admiration was mutual.  The concert was a win-win for everyone involved and served as a perfect ending to The Marshall Mathers LP 2 era of Eminem’s iconic career… which is why so many are now chomping at the bit for Shady XV .

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Average setlist for tour: The Monster Tour

  • Numb ( Rihanna  cover) Play Video
  • No Love ( Eminem  cover) Play Video
  • Live Your Life ( T.I.  cover) Play Video
  • Crack a Bottle ( Eminem  cover) Play Video
  • Won't Back Down ( Eminem  cover) Play Video
  • What Now ( Rihanna  cover) Play Video
  • Phresh Out the Runway ( Rihanna  cover) Play Video
  • Birthday Cake ( Rihanna  cover) Play Video
  • Talk That Talk ( Rihanna  cover) Play Video
  • Rude Boy ( Rihanna  cover) Play Video
  • What's My Name? ( Rihanna  cover) Play Video
  • Pour It Up ( Rihanna  cover) Play Video
  • Cockiness (Love It) ( Rihanna  cover) Play Video
  • Jump ( Rihanna  cover) Play Video
  • Umbrella ( Rihanna  cover) Play Video
  • All of the Lights ( Kanye West  cover) Play Video
  • Rockstar 101 ( Rihanna  cover) Play Video
  • Only Girl (in the World) ( Rihanna  cover) Play Video
  • Where Have You Been ( Rihanna  cover) Play Video
  • Stay ( Mikky Ekko  cover) Play Video
  • Love the Way You Lie (Part II) ( Rihanna  cover) Play Video
  • Love the Way You Lie ( Eminem  cover) Play Video
  • 3 a.m. ( Eminem  cover) Play Video
  • Square Dance ( Eminem  cover) Play Video
  • Business ( Eminem  cover) Play Video
  • Kill You ( Eminem  cover) Play Video
  • Evil Deeds ( Eminem  cover) Play Video
  • Rap God ( Eminem  cover) Play Video
  • Marshall Mathers ( Eminem  cover) Play Video
  • Just Don't Give a Fuck ( Eminem  cover) Play Video
  • Still Don't Give a Fuck ( Eminem  cover) Play Video
  • Criminal ( Eminem  cover) Play Video
  • The Way I Am ( Eminem  cover) Play Video
  • Airplanes, Part II ( B.o.B  cover) Play Video
  • Stan ( Eminem  cover) Play Video
  • Sing for the Moment ( Eminem  cover) Play Video
  • Like Toy Soldiers ( Eminem  cover) Play Video
  • Forever ( Drake  cover) Play Video
  • 'Till I Collapse ( Eminem  cover) Play Video
  • Berzerk ( Eminem  cover) Play Video
  • Cinderella Man ( Eminem  cover) Play Video
  • My Name Is ( Eminem  cover) Play Video
  • The Real Slim Shady ( Eminem  cover) Play Video
  • Without Me ( Eminem  cover) Play Video
  • Diamonds ( Rihanna  cover) Play Video
  • Not Afraid ( Eminem  cover) Play Video
  • We Found Love ( Rihanna  cover) Play Video
  • Lose Yourself ( Eminem  cover) Play Video
  • The Monster ( Eminem  cover) Play Video

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4 Reasons Why Eminem's 'The Slim Shady LP' Is One Of The Most Influential Rap Records

Eminem’s major label debut, 'The Slim Shady LP,' turns 25 on Feb. 23. The album left an indelible imprint on hip-hop, and introduced the man who would go on to be the biggest-selling artist of any genre in the ensuing decade.

A quarter century has passed since the mainstream music world was first introduced to a bottle-blonde enfant terrible virtuoso who grabbed everyone’s attention and wouldn’t let go

But enough about Christina Aguilera .

Just kidding. Another artist also exploded into stardom in 1999 — one who would become a big enough pop star, despite not singing a note, that he would soon be feuding with Xtina . Eminem’ s biting major label debut The Slim Shady LP turns 25 on Feb. 23. While it was Eminem's second release, the album was the first taste most rap fans got of the man who would go on to be the biggest-selling artist in any genre during the ensuing decade. It also left an indelible imprint on hip-hop.

The Slim Shady LP is a record of a rapper who was white (still a comparative novelty back in 1999), working class and thus seemingly from a different universe than many mainstream rappers in the "shiny suit era." And where many of those contemporaries were braggadocious, Eminem was the loser in his rhymes more often than he was the winner. In fact, he talked so much about his real-life childhood bully on the album that the bully ended up suing him .  

It was also a record that played with truth and identity in ways that would become much more difficult once Em became world famous. Did he mean the outrageous things he was saying? Where were the knowing winks, and where were they absent? The guessing games that the album forced listeners to play were thrilling — and made all the more intense by his use of three personas (Marshall Mathers the person; Eminem the battle rapper; and Slim Shady the unhinged alter ego) that bled into each other.

And, of course, there was the rhyming. Eminem created a dizzying array of complicated compound rhymes and assonances, even finding time to rhyme "orange" — twice. (If you’re playing at home, he paired "foreign tools" with "orange juice" and "ignoring skill" with "orange bill.")

While the above are reason enough to revisit this classic album, pinpointing The Slim Shady LP 's influence is a more complicated task. Other records from that year — releases from Jay-Z , Nas , Lil Wayne , Ludacris , and even the Ruff Ryders compilation Ryde or Die Vol. 1 — have a more direct throughline to the state of mainstream rap music today. So much of SSLP , on the other hand, is tied into Eminem’s particular personality and position. This makes Slim Shady inimitable; there aren’t many mainstream rappers complaining about their precarious minimum wage job, as Em does on "If I Had." (By the time of his next LP, Em had gone triple-platinum and couldn’t complain about that again himself.)

But there are aspects of SSLP that went on to have a major impact. Here are a few of the most important ones.

It Made Space For Different Narratives In Hip-Hop

Before Kanye rapped about working at The Gap, Eminem rapped about working at a burger joint. The Slim Shady LP opened up space for different narratives in mainstream rap music. 

The Slim Shady LP didn't feature typical rags-to-riches stories, tales of living the high life or stories from the street. Instead, there were bizarre trailer-park narratives (in fact, Eminem was living in a trailer months after the record was released), admissions of suicidal ideation ("That’s why I write songs where I die at the end," he explained on "Cum on Everybody"), memories of a neglectful mother, and even a disturbing story-song about dumping the corpse of his baby’s mother, rapped to his actual child (who cameos on the song). 

Marshall Mathers’ life experience was specific, of course, but every rapper has a story of their own. The fact that this one found such a wide audience demonstrated that audiences would accept tales with unique perspectives. Soon enough, popular rappers would be everything from middle-class college dropouts to theater kids and teen drama TV stars .

The Album Explored The Double-Edged Sword Of The White Rapper

Even as late in the game as 1999, being a white rapper was still a comparative novelty. There’s a reason that Em felt compelled to diss pretty much every white rapper he could think of on "Just Don’t Give a F—," and threatened to rip out Vanilla Ice ’s dreadlocks on "Role Model": he didn’t want to be thought of like those guys. 

" People don't have a problem with white rappers now because Eminem ended up being the greatest artist, " Kanye West said in 2015. You can take the "greatest artist" designation however you like, but it’s very true that Eminem’s success meant a categorical change in the status of white rappers in the mainstream.

This turned out to be a mixed blessing. While the genre has not, as some feared, turned into a mostly-white phenomenon, America’s racial disparities are often played out in the way white rappers are treated. Sales aside, they have more room to maneuver artistically — playing with different genres while insulting rap a la Post Malone ,  or even changing styles completely like Machine Gun Kelly — to commercial approbation. Black artists who attempt similar moves are frequently met with skepticism or disinterest (see André 3000 ’s New Blue Sun rollout, which was largely spent explaining why the album features no rapping ). 

Sales are worth speaking about, too. As Eminem has repeatedly said in song, no small amount of his popularity comes from his race — from the fact that white audiences could finally buy music from a rapper who looked like them. This was, as he has also bemusedly noted , the exact opposite of how his whiteness worked for him before his fame, when it was a barrier to being taken seriously as a rapper. 

For better, worse, or somewhere in between, the sheer volume of white rappers who are currently in the mainstream is largely traceable to the world-beating success of The Slim Shady LP.

It Was Headed Towards An Odd Future

SSLP laid groundwork for the next generation of unconventional rappers, including Tyler, the Creator .

Tyler is a huge Eminem fan. He’s said that listening to Em’s SSLP follow-up The Marshall Mathers LP was " how I learned to rap ." And he’s noted that Em’s Relapse was " one of the greatest albums to me ." 

"I just wanted to rap like Eminem on my first two albums," he once told GQ . More than flow, the idea of shocking people, being alternately angry and vulnerable, and playing with audience reaction is reflected heavily on Tyler’s first two albums, Goblin and Wolf . That is the template The Slim Shady LP set up. While Tyler may have graduated out of that world and moved on to more mature things, it was following Em’s template that first gained him wide notice. 

Eminem Brought Heat To Cold Detroit

The only guest artist to spit a verse on The Slim Shady LP is Royce da 5’9". This set the template for the next few years of Eminem’s career: Detroit, and especially his pre-fame crew from that city, would be his focus. There was his duo with Royce, Bad Meets Evil, whose pre- SSLP single of "Nuttin’ to Do"/"Scary Movies" would get renewed attention once those same two rappers had a duet, smartly titled "Bad Meets Evil," appear on a triple-platinum album. And of course there was the group D12, five Detroit rappers including his best friend Proof, with whom Eminem would release a whole album at the height of his fame.

This was not the only mainstream rap attention Detroit received in the late 1990s. For one thing, legendary producer James "J Dilla" Yancey, was a native of the city. But Eminem’s explosion helped make way for rappers in the city, even ones he didn’t know personally, to get attention. 

The after-effects of the Eminem tsunami can still be seen. Just look at the rise of so-called " scam rap " over the past few years. Or the success of artists like Babyface Ray, Kash Doll, 42 Dugg, and Veeze. They may owe little to Em artistically, but they admit that he’s done great things for the city — even if they may wish he was a little less reclusive these days . 

Is Eminem's "Stan" Based On A True Story? 10 Facts You Didn't Know About The GRAMMY-Winning Rapper

10 Halloween Songs That Have Won GRAMMYs: "Thriller," "Ghostbusters" & More

Photo: Image Group LA via Getty Images

10 Halloween Songs That Have Won GRAMMYs: "Thriller," "Ghostbusters" & More

With Halloween celebrations in full swing this Oct. 31, revisit 10 eerie or ghoulishly titled songs that have all been awarded music's top honor, from the 'Exorcist' theme to Eminem and Rihanna's "The Monster."

If the holiday of trick or treating, pumpkin carving, and decorating your front porch with skeletons is your favorite of the year, then you'll no doubt already have a playlist stacked with creepy and kooky, mysterious and spooky bangers ready to fire up on Oct. 31. But if you want to add a bit of prestige to your supernatural soundtrack, there's another list of Halloween-friendly songs to check out — one that highlights another celebrated annual occasion.

While the GRAMMYs might not yet have awarded Rob Zombie , Jukebox the Ghost, or And You Will Know Us by the Trail of the Dead, it has embraced the odd musical spooktacular in several forms. In 1988, for example, it gave Halloween obsessive Frank Zappa Best Rock Instrumental Performance for Jazz from Hell . A year later, it handed Robert Cray Band Best Contemporary Blues Recording for Don't Be Afraid of the Dark . And it's also dished out goodies (of the statuette, rather than the sweet, variety) to the likes of Mavis Staples ' "See That My Grave Is Clean," Chick Corea 's "Three Ghouls," and Mastodon 's "A Sultan's Curse."

With Halloween 2023 fast approaching, here's a closer look at ten other tracks which left the music industry's biggest awards show completely bewitched.

Stevie Wonder — "Superstition" (1974)

It seems unlikely that Stevie Wonder walked under a ladder, crossed a black cat, or 'broke the lookin' glass' while recording "Superstition" — the squelchy Moog-funk classic kickstarted his remarkable run of 25 GRAMMY Awards when it won both Best Rhythm and Blues Song and Best R&B Vocal Performance Male in 1974. Taken from what many consider to be his magnum opus, Talking Book , "Superstition" also gave Wonder his first No. 1 hit on the Hot 100 in over a decade. And the soul legend further leaned into its supernatural theme in 2013 when he appeared as a witch doctor in a Bud Light Super Bowl commercial soundtracked by the Tamla favorite.

Mike Oldfield — "Tubular Bells" (1975)

Incredibly, considering how perfectly it complements all-time classic horror The Exorcist , Mike Oldfield 's prog-rock epic Tubular Bells was recorded long before director William Friedkin came calling. Mike Oldfield, then aged only 19, used a variety of obscure instruments across its two mammoth pieces. Yet, it's the brilliantly creepy Steinway piano riffs which open Side One that are still most likely to bring anyone who experienced the movie's hysteria in a cold sweat. Oldfield was rewarded for helping to scar a generation of cinemagoers for life when a condensed version of his eerie masterpiece picked up the Best Instrumental Composition GRAMMY.

The Charlie Daniels Band — "The Devil Went Down to Georgia" (1980)

The Charlie Daniels Band certainly proved their storytelling credentials in 1979 when they put their own Southern country-fied spin on the old "deal with the devil" fable. Backed by some fast and furious fiddles, "The Devil Went Down to Georgia" tells the tale of a young musician named Johnny who bumps into Beelzebub himself during a jam session in the Peach State. Experiencing a downturn in soul-stealing, the latter then bets he can win a fiddle-off, offering an instrument in gold form against Johnny's spiritual essence. Luckily, the less demonic party proves he's the "best that's ever been" in a compelling tale GRAMMY voters declared worthy of a prize, Best Country Vocal Performance By A Duo Or Group.

Michael Jackson — "Thriller" (1984)

The 1984 GRAMMYs undeniably belonged to Michael Jackson . The King of Pop picked up a whopping 11 nominations for his first blockbuster album, Thriller , and then converted seven of them into wins (he also took home Best Recording for Children for his narration on audiobook E.T. The Extra-Terrestrial ). Remarkably, the title track's iconic John Landis-directed video didn't feature at all: its making of, however, did win Best Music Film the following year. But the song itself did pip fellow superstars Prince , Billy Joel , and Lionel Richie to the Best Male Pop Vocal Performance crown. Jackson would also win a GRAMMY 12 years later for another Halloween-esque anthem, his Janet Jackson duet "Scream."

Duran Duran — "Hungry Like the Wolf" (1984)

Produced by Colin Thurston, the man behind another early '80s Halloween-friendly classic, (Bow Wow Wow's "I Want Candy"), "Hungry Like the Wolf" cemented Duran Duran 's status as MTV icons. Alongside their much raunchier earlier clip for "Girls on Film," its jungle-themed promo was also responsible for giving the Second British Invasion pin-ups the inaugural GRAMMY Award for Best Music Video, Short Form; it featured on the Duran Duran compilation that was crowned Best Video Album, too. Frontman Simon Le Bon had been inspired to write their U.S. breakthrough hit by Little Red Riding Hood , giving the new wave classic its sinister, and appropriately predatory, edge.

Ray Parker Jr. — "Ghostbusters" (1985)

Ray Parker Jr. not only topped the Hot 100 for four weeks with his ode to New York's finest parapsychologists, he also picked up a GRAMMY. Just don't expect to hear "who you gonna call?" in the winning version: For it was in the Best Pop Instrumental Performance where "Ghostbusters" reigned supreme. The fact that Parker Jr. wrote, performed, and produced the entire thing meant he still took home the trophy. However, Huey Lewis no doubt felt he should have been the one making the acceptance speech. The blue-eyed soulman settled out of court after claiming the spooky movie theme had borrowed its bassline from "I Want a New Drug," a track Ghostbusters ' director Ivan Reitman admitted had been played in film footage intended to inspire Parker Jr.

Ralph Stanley — "O Death" (2002)

Traditional Appalachian folk song "O Death" had previously been recorded by the likes of gospel vocalist Bessie Jones, folklorist Mike Seeger , and Californian rockers Camper Van Beethoven, just to name a few. Yet it was Ralph Stanley 's 2002 version where GRAMMY voters first acknowledged its eerie a cappella charms. Invited to record the morbid number for the Coen brothers' period satire O Brother, Where Art Thou , the bluegrass veteran won Best Male Country Vocal Performance at the 2002 ceremony, also picking up a second GRAMMY alongside the likes of Alison Krauss , Gillian Welch , and Emmylou Harris when the soundtrack was crowned Album Of The Year.

Skrillex — "Scary Monsters and Nice Sprites" (2012)

David Bowie fans may well feel aggrieved that his post-punk classic "Scary Monsters (and Super Creeps)" was entirely ignored by GRAMMY voters, while the bro-step banger it inspired was showered with awards. The title track from EP Scary Monsters and Nice Sprites added Best Dance Recording to Skrillex 's 2012 haul: the asymmetrically haired producer also walked away with Best Dance/Electronica Album and Best Remixed Recording: Non-Classical for his work on Benny Benassi 's "Cinema." Packed with speaker-blasting beats, distorted basslines, and aggressive synths, Skrillex's wall of noise is enough to scare anyone off their pumpkin pie.

Eminem and Rihanna — "The Monster" (2015)

Who says lightning can't strike twice? Just four years after picking up five GRAMMY nominations for their transatlantic chart-topper "Love the Way You Lie," unlikely dream team Eminem and Rihanna once again joined forces for another hip-pop masterclass. Unlike their previous collab, however, "The Monster" didn't go home empty-handed, winning Best Rap/Sung Collaboration at the 2015 ceremony. The boogeyman hiding under the bed here, of course, isn't a Frankenstein-esque creation, but the mix of paranoia, self-doubt, and OCD that leads the Real Slim Shady into thinking he needs a straitjacket.

Jason Isbell — "If We Were Vampires" (2018)

While the Twilight franchise may have failed to add a GRAMMY to its trophy cabinet, it did pick up several nominations. But four years after the Team Edward vs Team Jacob saga wrapped up, folk hero Jason Isbell proved mythical bloodsuckers weren't a barrier to awards success. Emerging victorious in only the fifth ever Best Americana Roots Song category, "If We Were Vampires" is a little less emo than the various Twilight soundtracks. Still, as a love song dedicated to wife Amanda Shires , and the quiet acceptance that the Grim Reaper will inevitably end their story, it's certainly no less emotional.   

GRAMMY Rewind: Watch Eminem Show Love To Detroit And Rihanna During His Best Rap Album Win In 2011

Westside Gunn On How Virgil Abloh & "Coming To The End" Of His Rap Career Inspired 'And Then You Pray For Me'

Photo: Prolifickid

Westside Gunn On How Virgil Abloh & "Coming To The End" Of His Rap Career Inspired 'And Then You Pray For Me'

A self-proclaimed "super-vet" of the rap world, Westside Gunn knows his time as a rapper is nearing its finale — but first, he wants to "give you a journey" with his new album, 'And Then You Pray For Me.'

When Westside Gunn refers to himself as "the king of the underground," it's not hyperbole. The veteran rapper has spent the last decade-plus providing hip-hop with a streetwise, neo-boom-bap style that echoes heavily in the music of today. And as the founder of independent hip-hop label Griselda (and its related rap collective), Gunn's influence is felt through stars like his brother, Conway the Machine , his cousin, Benny the Butcher, and the enigmatic Mach-Hommy.  

But Gunn considers himself more a curator than a musician. He is obsessed with fashion and high art, more prone to mention going to see opera or buying a painting than jumping into a rhyme cipher.

All of Westside Gunn's obsessions come together on his new album And Then You Pray For Me . The rapper is positioning the project as a sequel to his 2020 LP Pray For Paris , which was inspired by Gunn attending a Paris Fashion Week runway show as a guest of the late Virgil Abloh. Abloh was the art director for both albums, which feature figures from iconic artworks laden with Gunn's signature chains; And Then You Pray For Me uses both the Mona Lisa and Caravaggio's The Entombment of Christ . 

While the 21-track album features plenty of Gunn's trademark neo-boom-bap sounds, he updates things a bit by including some songs that have a trap music influence. It contains stellar guest turns from old friends like Conway, Benny, Stove God Cooks, Rome Streetz, and Boldy James. But there are also surprising appearances from artists you might not normally associate with Griselda — Jeezy , Rick Ross , Denzel Curry , and Ty Dolla $ign .

Gunn has recently referred to And Then You Pray For Me as his last album, but don't expect him to slow down. He's making movies, planning big moves in the fashion world, and continuing to guide the careers of other artists. 

GRAMMY.com caught up with Gunn as he was, naturally, shopping in New York City's SoHo neighborhood ("I'm over here on Mercer [Street], so it's Lanvin, Balenciaga, Marni, Bape — it's all right here," he boasts). We discussed his creative pairing with Abloh, why he's really a curator at heart, and his views on underground rap's evolution over the past decade. 

The conversation has been edited for length and clarity.

Not to start on a super serious note, but as I was preparing for this conversation, I realized that we just passed the 17-year anniversary of the murder of your cousin, rapper Machine Gun Blak. If he could see you now, and if he could hear the new album, what do you think he might say?

First of all, he'd be all on [the album]. But he'd be super proud, man. Even when he's not here, he's one of my biggest fans, I feel like. His energy is Westside Gunn. Westside Gunn is a perfect example of Machine Gun Blak — just the raw, the grittiness. The grimy part of Westside Gunn, that's Machine Gun Blak. That's his spirit.

But I think he would love this album. It's a great piece of work. It's my favorite that I ever worked on. Out of all my projects ever, this is the most fun I ever had making one. 

Does it feel like it's been 17 years since he died?

Nah. It doesn't seem like 17 years, honestly. And it's crazy because I just went to his grave site. I remember [the day he died] like it was yesterday. I vividly remember that day — what was going on, what I was doing, where I was going, everything.

Where were you when you found out?  

See, back in those days, that's when we were still in the streets. So I was just about to go make a move. I was talking to him on the phone, and I was like, "I'll hit you when I get over to Atlanta." Because at that time, I was making moves. That's before all of this. It's the things I rap about now. When you hear the lyrics, these are those days. 

He called me, and it was a situation. He was talking about it, and I was like, "Sorry to cut you off, but I gotta go handle this. When I get there, I'll hit you back so we can finish talking about it."

At that time I was still catching the Greyhound from Alabama to Atlanta. But it was crazy because I missed the bus, and I never miss the bus. So I was on my way back to the house in Alabama, and my grandma called me.  

This era of your career, which this album is a cap to, began in 2012 when you realized you had to step up and be an artist because Conway The Machine had gotten shot and you weren't sure he'd be able to rap anymore . I've always been curious about your state of mind at that moment.

Even then I was still in-the-streets Gunn. We was working so hard, man. I was acting as his manager and investing my bread, my time. I really wanted Conway to be the biggest artist in the world. Unfortunately, when he got shot, it was a devastating blow.

Of course, that's my brother. That's the number one thing. And it was also like, the streets is crazy. I thought, I'm a smart guy. If I just put in my effort, I could really make this happen. At that time, I was really in the streets, and I felt like the [other] rappers weren't. It was like, you're really rapping about us . 

It was that kind of mentality — that if I come in this game, can't nobody touch me, because I'm as real as it comes. I just put my hustle skills from the streets into this, and it all worked out. 

During the heyday of that era of Griselda, you guys released a flood of projects — dozens and dozens of mixtapes and albums.  

It was a flood. It was the craziest flood since No Limit [Records].

What was a typical day like for you when all that was going on, circa the mid-2010s?

Just being at [producer] Daringer's house. Getting high, eating f—in' Franco's pizza , drinking Loganberry , and Daringer cooking the craziest beats you ever heard in your life. The rest is history. Just having fun, man. Everybody had they hustles. Believe it or not, even Daringer was hustling! We from Buffalo, man.

You've always been someone who understood the importance of branding. Even on early Griselda projects, you'd promote GxFR [Griselda by Fashion Rebels, Gunn's clothing line at the time].  

Yeah, because that's the thing: Griselda Records comes from Griselda by Fashion Rebels. I had the clothing brand first. I was already doing a clothing line and it was just like, What am I going to name this record company?

I've always been into fashion. I actually do more fashion-related things than hip-hop-related things. I'm a true designer. I've been designing since I was a kid, and that's the thing that I want to get into more. 

I've been rhyming since '12. That's over a decade. If we're looking at NBA years, NFL years, I'm already a super-vet. I'm not trying to be one of them dudes that went from averaging 40 a game to now I'm averaging five, looking crazy and old. 

I know when to gracefully bow out. And I know I'm coming to the end. I don't want to keep rapping forever about the same things, because in my life I'm maturing. I'm doing other things. I'm collecting art. I'm going to see operas. 

But it's not the end right now. Right now, I just want to give people the best music. And I also want to let people in. I've been doing these [YouTube] episodes for this album where I've been letting people into my life for the first time in my career. Everybody has been loving it. 

For the first time, people are actually getting to see the inside of Westside Gunn's life. I think that's one of the things that I lacked on, was letting people in. If I would have let people in a long time ago, I'd be way bigger. But everything is about time, and I'm not tripping.

Before I hang up the mic, I still want to kind of give you a journey with the music. This new project, it's a super different vibe. I've never made an album sound like this. It's the perfect art piece that I could have possibly created.

It's just the space I'm in in life. It comes with maturity — traveling the world, kids getting older, things like that. You can hear the music has matured. It's still raw though. That's the thing about me. I'm still gonna give you that Griselda Westside Gunn. That's never gonna change. I'm not going too far out of context. 

For this album, you've introduced the alter ego "Super Flygod." What does that name mean?  

Listen, man, Super Flygod right now is talking to you with a ponytail. I'm on another level. Super Flygod is what I've always been, but times 10. I'm super bougie. I love five-star meals. I love five-star hotels. I love wearing $10,000 outfits. I love getting massages. I love smelling good. I love just looking good. That's Super Flygod. 

It's just a different energy. It's something the game never seen before. I did the unthinkable at least 100 times already. I'm still doing it. 

What was it like for you to see Conductor Williams — a producer who has worked with Gunn and Griselda for many years — land a single on a Drake album ?

Beautiful. That's what we do it for. He did exactly what he was supposed to do, and that's be on the No. 1 album in the world. He deserves all of that. That's what we're in this game for — to be able to leave a legacy and take care of our babies. So for him to be on the No. 1 album, that's a super blessing. 

That's the thing about Conductor — it's just gonna be the beginning. He's on my new album a few times. So he's gonna have a hell of a month. It's the biggest month of his life. Business is booming for Conductor. 

You've used the word "curation" a lot over the course of your career, and especially in regards to this album. What does that word mean to Westside Gunn?

First of all, that's my favorite thing to do on an album. Curation from me is me . I can curate for you, I can curate for MC Hammer . It's you, but it's me . 

When I curate a project, that's me naming every song, that's me picking every beat, that's me doing the sequence, that's me making the art cover, that's me doing the merch. You see what I'm saying? It's you , but it's me . All you're doing is showing up and rapping. That's all you gotta do.

Virgil Abloh is credited with art directing this album's cover. What did that mean, specifically?  

When I went out to Paris [for Paris Fashion Week in 2020], I really wasn't going to make music. I just felt the energy from Virgil having me out there. When I hit him and told him it was done, it was just like, "There's only one person that can do this cover." It had to be him. 

Virgil was an icon. So to have Virgil cooking up for you is already legendary. This don't happen to nobody from Buffalo, man. But when he was cooking, he was making me multiple pieces. At first, the idea was, I'm gonna do a trilogy [of Pray albums]. I was gonna have the Mona Lisa be the picture that represents all three of them together. I was thinking [of a] box set, with a Mona Lisa front and three different covers inside. 

Once he passed, it changed what I wanted to do with it. But we were already talking about dropping [a second Pray album]. We were already going to re-release the first shirts we did, and I was going to do new ones. But when [his death] happened, I put everything on a standstill and I didn't really know how I wanted to approach it again.

It was like, Damn, should I do the trilogy, or should I just make it a part two? I had different options. At the end of the day, it was just like, I think I'm just going to finish it up . I really want to give the people the work we created together before I throw in the towel. I felt it was only right. That's something that I want the world to always see and remember — what me and him cooked up together.

You say in your new YouTube documentary series that this new album will probably go over people's heads. What aspects of it do you think people might not get initially, or take a few years to catch up to?

The same reason why they're catching up now to the s— that I was doing five years ago, and everybody acts like it's new. I've always been ahead of my time. Always. I probably get copied off of the most in the industry. But you see that I've always gotten respect from everybody: from the Drakes , from the Tylers , the Rockys , Kendricks , Coles , anybody. I'm a one-of-one. It's never been seen before. 

The respect I get, it could be on a mainstream level, but then I could still be on an underground level. I can do something with an Estee Nack, but then turn around and do a song with Mary J. Blige . That's who Westside Gunn is. I got songs with everybody you can possibly think of, rhyming-wise or production-wise. All the legends, even our fallen legends. I can't even think of no other emcee that got a record with Sean Price , Prodigy , DMX , and MF DOOM . It's impossible to name another one. 

Westside Gunn is so cultured, people don't even understand. That's what I mean about [being] over people's heads. People still don't even get it. They're scratching their head, like, "How is this guy on [Kanye West's] Donda ? How is this guy on [Travis Scott's] Utopia ?"

There's a big part of underground rap now that can be traced directly to what Roc Marciano began doing in 2010 , and what you guys started doing just a few years later. What do you think when you see a lot of your aesthetic from that time in the current underground scene?

The current underground scene, I'm loving it. Because you gotta think — at that time, like you said, it was only really Roc Marci, Action Bronson — a couple heads. That's in the space that we come from. Of course, we still had the J. Coles and Big Seans and all that, but that was another lane. We're in the same neighborhood, two different streets. 

But on our street, people on the block was Roc Marci and Action Bronson. Danny Brown, he lived on the block. People like that. When I came on the scene, that's all it was. But I took the bull by the horns. Like I said, I'm a hustler. I was still hustling in the street. I had a hustler mentality, and once I told myself I had to quit cold turkey, I never looked back. I just went extra hard. 

With the new heads, I'm proud of them. At the end of the day, I'm happy that I was able to be somebody that they could study. That they could see these vinyl deals or how this merch is played — I'm kind of like the blueprint. I'm not going to say I'm the king of the underground, but I'm the king of the underground.

Even though I'm the king of the underground, I'm still on Donda . I'm still on Utopia . I'm still making all these big songs and these big records. And even yesterday, we put up the Post Malone clip saying if he could work with anybody, it'd be me. 

I'm the one that put the most points on the board, in every way possible. But this is also showing the new heads, If I could work hard, I'm gonna be the next Roc Marci, I'm gonna be the next Action Bronson in that space .

What is the possibility of getting the original Griselda trio of you, your brother and your cousin back together for a project?  

That's coming in '24. You don't even you got to ask twice. That's already done, my brother. 

A Guide To New York Hip-Hop: Unpacking The Sound Of Rap's Birthplace From The Bronx To Staten Island

Lil Yachty Wants You To Be "Ready For Everything" At The Field Trip Tour

Photo: Jason Koerner/Getty Images

Lil Yachty Wants You To Be "Ready For Everything" At The Field Trip Tour

As Lil Yachty hits the road for his 42-date global tour, the rapper details how he'll be bringing his trippy album 'Let's Start Here' to life — and why he feels like his seven-year career is only just getting started.

Fans first got to know Lil Yachty for his catchy, sing-songy tunes like "One Night" and "Minnesota," rap songs that sound like the rapper's once-signature red braids: bright and attention-getting. But as the man who once dubbed himself the " king of the teens " has now become a father in his (gasp!) mid-20s, his musical horizons have expanded.  

While Lil Boat is still making catchy tracks  (see his minute-and-a-half long earworm "Poland," released last fall), his latest album is something else entirely. Inspired by big statement LPs like Pink Floyd 's 1973 classic Dark Side of the Moon , Lil Yachty's Let's Start Here is a psychedelic record created with members of Chairlift and MGMT, as well as Mac DeMarco, Alex G and a handful of other out-of-the-norm collaborators. While the style change may have been unexpected for many, it came out exactly as Yachty envisioned it.

"It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong," he says. "I'm grateful for the response. It's nice to have people resonate with a body of work that you've worked so hard on and you care so deeply about."

Yachty's most recent release, a four-song single pack featuring the swirling "TESLA," brings him back to a more traditional hip-hop style — by Lil Boat standards, anyway. But even with the four new tracks sprinkled throughout the set list, he's still determined to share the sound and vibe of Let's Start Here with his listeners. 

The Field Trip Tour, which Lil Yachty kicked off in Washington, D.C. on Sept. 21, brings the album's trippy vision to the stage. The rapper recruited an all-women band for his latest trek, which includes Lea Grace Swinson and Romana R. Saintil on vocals, Monica Carter on drums, Téja Veal on bass, Quenequia Graves on guitar, and Kennedy Avery Smith on keys.

"My life is surrounded by women," Yachty explains. "I feel like they are the most important aspect to this world and that they don't get enough credit or shine — especially Black women."

GRAMMY.com caught up with Yachty as he was on his way to rehearsal to chat about the tour, the album, and what he learned from four old British guys.

You made your band auditions public by announcing them on social media , which is not the usual way of going about these things. When you had the auditions, what was it like? How many people showed up?

Hundreds of women came from all over. People sent in auditions online. It was so fun to hear so much music and see talent and meet so many different personalities. I felt like Simon Cowell.

Other than musical ability, what were you looking for?

It was nothing more than talent. There would be multiple people with extreme talent, so then it became your own creative spunk: what did you do that made me say, "Oh, okay. I like this. I like this"? I wanted a badass group.

What was behind the decision to put the call out for women only?  

My life is surrounded by women — my two assistants, my mother as a manager, a lot of my friends are women. Women really help me throughout my day. 

I just think that women are so powerful. I feel like they rule the world. They are the most important aspect to this world and they don't get enough credit or shine, especially black women. So that was my aura behind it. I just wanted to showcase that women can shred just as good as men. 

Is the band going to be performing on your older rap material as well, in addition to the album cuts?  

No. I'm not a big fan of rendition rap songs. I think the feeling is in the beat, the feeling is in the instrumentation. When you have to reconstruct it, the bounce gets lost a bit.

Tell me about the rehearsal process once you selected the band members. What was that like?  

They're all so talented, so they all learned it very quick. I gave [the music] to them early, and gave them the stems. When it was day one, they all knew the songs. Even my new guitarist that came in later than everyone, she came in knowing the music. 

The rehearsal project for this tour was a little different, because I'm reconstructing the whole album. I'm moving everything around and changing all the transitions and trying to make it trippy. So it's a process of me figuring out how I want to do things. But they're so talented and so smart, all I have to do is tell them what I want, and they'll do it instantly. 

Like yesterday, I wanted a solo on the end of a song called "The Alchemist." Because at the end of [the album version] is this [singer Brittany] Fousheé breakdown and she's singing in a falsetto. But I took her vocals off and I wanted a solo. And [a band member] was working through it yesterday and it wasn't quite there. But I'm on the way to rehearsal now, and I know when I walk in this room, it'll be done. It'll be crazy. So they all take it very serious and they care, and I love them so much. 

The festival shows you've done so far have had everyone in Bantu knot hairstyles, sometimes with face paint . Is that going to be the look for this tour?  

No, I don't think so.

What was the thinking behind that look?  

I was getting really deep into the world of '70s bands, '60s bands. Just unison: moving as one, looking like one, feeling like one. A family, a group, a team. You see us, we're all together. 

When you play rap shows, so much of what you're doing is keeping a high-energy mood—getting the crowd going, starting mosh pits. With the new songs, it's about a diversity of feelings. What was that like for you as a band leader?  

I'll tell you, it was not easy. I've been in this industry for seven years, and my shows have been high-energy for seven years. So the first time I went on a stage and performed Let's Start Here , I felt like, "Oh wow, they hate me. Do they hate this?" Plus I have in-ears , so I can't hear the crowd cheering. I don't perform with in-ears when I do rap shows. 

It took me some time to get used to the switch. Tyler, the Creator once had a talk with me and explained to me that, it's not that they don't f— with you, it's that they're taking it in. They're comprehending you. They're processing and enjoying it. That clicked in me and I got a better understanding of what's going on.

What is it like in the same show to go from the Let's Start Here material to the rap stuff?  

It's a relief, because that's going to my world. It's super easy for me. It's like flipping the switch and taking it to the moon.

Now that it's been the better part of a year since Let's Start Here came out, how are you feeling about it? What sense do you have of the reaction to it?

Since before it came out, when I was making it, I always felt so strongly because it was something that I felt inside. It felt future-forward, it felt different, it felt original, it felt fresh, it felt strong. 

I'm grateful for the response. It's nice. It's not what you do it for, but it is extra credit. It's nice to get that love and to have people resonate with a body of work that you've worked so hard on and you care so deeply about.

Have you felt peoples' reactions change over the past few months?  

Well, this is the first time when people are like, "Man, that album changed my life" or "It took me to a different place." People love my music — always have — but this reaction is, "Man, this album, man, it really took me there." 

It did what it was supposed to do, which was transcend people. If you are on that side of the world and you're into that type of stuff, it did its job, its course — the same course as Dark Side of the Moon , which is to take you on a journey, an experience. 

What was it about Dark Side that grabbed you?  

Everything. The cover, the sounds, the transitions, the vocals, the lyrics, the age of Pink Floyd when they made it. I could go on. I got into deep fascination. It was so many things. It's just pure talent.

** I've read that you studied Pink Floyd quite a bit, watching interviews and documentaries. What were some of the things you learned from that process and brought to Let's Start Here ? **

So many things. The most important element was that I wanted to create a body of work that felt cohesive and that transcended people, and that was a fun experience that could take you away from life.

I was curious about the song ":(failure:(," where you give a speech about failing. What were your inspirations for that?

" Facebook Story " by Frank Ocean , which is about a girl who thought he was cheating on her because he wouldn't accept her on Facebook. It inspired me to talk about something. 

At first I wanted [":(failure:("] to be a poem, and I wanted my friend to say it. We tried it out, but his voice was so f—ing deep. And his poem was so dark — it was about death and s—. I was like, Damn, n—, lighten up. But then I was just like, you know what, I'll do it, and I'll speak about something very near and dear to me, which was failure. I felt like it would resonate with people more.

** The idea of time shows up on the album a lot, which is something it has in common with Dark Side of the Moon . You talk about running out of time . What are you running out of time to do? ** 

Sometimes I feel like I'm growing so fast and getting so old, and maturing and evolving so quickly, and so many opportunities come into my life. You go on tour, and then you start working on an album, and you run out of time to do certain things. It's like, "Are we going to be together? If not, I have other things to do." 

I think that's where it comes from. I don't have all day to play around. Too many things to do. Then it transpires to feel like I'm running out of time.

I love "drive ME crazy!" I was wondering if there are any particular male/female duets that you looked at as a model when designing that song.  

Fleetwood Mac . Again, with all the inspirations for these songs, I still did my twist on them. So I don't want people to go and be like, "Oh, that sounds nothing like a Fleetwood Mac song." I wasn't trying to copy a Fleetwood Mac song. It just inspired me to make a song in that feeling, in that world.

When you began your career, you were the "king of the teens." Now you're a father in your mid-twenties. Who's your audience these days? Is it the people who were teens when you started your career, who are now in their 20s like you, or is it a new crop of teenagers?  

I think now it's from the 12-year-olds to the 40-year-olds. My last festival, I had 50-year-olds in my show. That was so amazing. In the front row, there was an 11-year-old asking for my sneakers, and then in the back, it was 50- and 60-year-olds. It was crazy. The age demographic is insane.

Whenever I'm leaving somewhere, I like to have the window down and see people. [At my last festival] these 60-year-olds were leaving. They're like, "Man, your album, we love it. That show was so great." And that's awesome, because I love [that my music can] touch everyone. 

You've been opening your recent shows with " the BLACK seminole ." What does that phrase mean to you? How does it relate to the sound of the song and the rest of the lyrics?

It's saying, "I'm a warrior, I am a king, I am a sex symbol, I am everything good and bad with man, and I'm Black, unapologetically." That's what it's about. 

Any final thoughts about the tour?  

Just that it's an experience. You're not walking into a rinky-dink [show with] some DJ. This is going to be a show . 

I feel like it's the start of my career. I just want people to come in with an open mindset. Not expecting anything, ready for everything. 

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GRAMMY Museum To Celebrate 50 Years Of Hip-Hop With 'Hip-Hop America: The Mixtape Exhibit' Opening Oct. 7

Image courtesy of the GRAMMY Museum

GRAMMY Museum To Celebrate 50 Years Of Hip-Hop With 'Hip-Hop America: The Mixtape Exhibit' Opening Oct. 7

The new exhibit honors the 50th anniversary of hip-hop through an expansive and interactive exploration that features artifacts from legendary artists including the Notorious B.I.G., Tupac Shakur, LL Cool J, and more.

The GRAMMY Museum is celebrating the 50th anniversary of hip-hop this fall with the newly announced Hip-Hop America: The Mixtape Exhibit , an immersive, interactive, 5,000-square foot experience celebrating the multifaceted world of hip-hop and the global impact and influence of the genre and culture. Launching Saturday, Oct. 7, and running through Wednesday, Sept. 4, 2024, the exhibit will feature expansive exhibits exploring hip-hop music, dance, graffiti, fashion, business, activism, and history as well as artifacts from hip-hop pioneers like Tupac Shakur , the Notorious B.I.G. , LL Cool J , and many more.

Additionally, the exhibit features a one-of-a-kind Sonic Playground, featuring five interactive stations that invite visitors of all ages to partake in DJing, rapping and sampling , all essential elements comprising hip-hop culture. Additional virtual and in-person education and community engagement programs will be announced at a later date.

Exploring the countless ways hip-hop music and culture has dominated popular culture over the last 50 years, Hip-Hop America: The Mixtape Exhibit was curated by a team of four co-curators who bring a deep knowledge of hip-hop, academic rigor and creativity to the project. They include:

Felicia Angeja Viator, associate professor of history, San Francisco State University, author of ‘To Live And Defy In LA: How Gangsta Rap Changed America,’ and one of the first women DJs in the Bay Area hip-hop scene

Adam Bradley, Professor of English and founding director of the Laboratory for Race and Popular Culture (the RAP Lab) at UCLA, and co-editor of ‘The Anthology of Rap’

Jason King, Dean, USC Thornton School of Music and former chair of the Clive Davis Institute of Recorded Music at NYU

Dan Charnas, Associate Arts Professor, NYU Clive Davis Institute of Music, and author of ‘Dilla Time: The Life And Afterlife Of The Hip-Hop Producer Who Reinvented Rhythm’

The co-curators worked in conjunction with GRAMMY Museum Chief Curator and Vice President of Curatorial Affairs Jasen Emmons as well as a 20-member Advisory Board.

Read More: 50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem & More

Hip-Hop America: The Mixtape Exhibit is an educational journey through several key themes:

Origins: Discover the roots of hip-hop in the Bronx and New York City , where DJs were the original stars, and graffiti and breakdancing were integral to the culture.

Innovation: Explore how hip-hop artists have innovatively used technology, from transforming turntables into musical instruments to pioneering sampling techniques.

Sounds of Hip-Hop: Experience the diverse sounds of hip-hop in four themed studios, showcasing the evolution of production, the intersection of hip-hop and car culture, the craft of hip-hop lyrics, and the influence of R&B.

Fashion: Dive into the world of hip-hop fashion, featuring iconic clothing, jewelry and style.

Regionalism: Discover 14 hip-hop scenes across the United States, showcasing the importance of local and regional contributions.

Entrepreneurialism: Learn about the transformation of hip-hop from a back-to-school party in the Bronx to a multi-billion-dollar global industry.

Media : Discover the role of media in shaping hip-hop's development, from radio stations to pioneering shows like "Yo! MTV Raps."

Community : Explore how hip-hop has brought people together over the last 50 years, with an interactive ‘Hip-Hop America’ playlist featuring 200 songs that trace the genre's evolution.

Highlights from Hip-Hop America: The Mixtape Exhibit include:

The Notorious B.I.G.'s iconic 5001 Flavors custom red leather peacoat he wore in Junior M.A.F.I.A.'s music video "Players Anthem"

Kurtis Blow's original handwritten lyrics for his 1980 hit single, "The Breaks," the first gold-certified rap song

Black suede fedora hat and Adidas Superstars belonging to Darryl "DMC" McDaniels of Run-D.M.C.

Tupac Shakur's handwritten essay "Give Me Liberty or Give Me Death," circa 1992

Two outfits designed by Dapper Dan, Harlem fashion icon: 1) a half-length black leather jacket worn by Melle Mel (Melvin Glover, b. 1961) in performance at the 1985 GRAMMY Awards; and a black-and-yellow leather bucket hat and jacket worn by New York hip-hop artist Busy Bee (David James Parker)

Egyptian Lover's gold Roland 808, the beat-making tool

LL Cool J's red Kangol bucket hat 

Hip-Hop America: The Mixtape Exhibit is a key event taking place as the world is celebrating 50 years of hip-hop this year. The origins of hip-hop can be traced back to Aug. 11, 1973, when DJ Kool Herc DJed a birthday party inside the recreation room of an apartment building located on 1520 Sedgwick Avenue in the South Bronx, New York City. This history-making date marks the birth of hip-hop and is the reason why we're celebrating hip-hop's 50th anniversary this year. The 50th anniversary of hip-hop means artists, fans, and the music industry at-large are celebrating the momentous milestone via hip-hop concerts , exhibits , tours, documentaries , podcasts , and more around the globe across 2023.

Visit the GRAMMY Museum website for more information regarding advanced ticket reservations for Hip-Hop America: The Mixtape Exhibit .

50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem & More

  • 1 4 Reasons Why Eminem's 'The Slim Shady LP' Is One Of The Most Influential Rap Records
  • 2 10 Halloween Songs That Have Won GRAMMYs: "Thriller," "Ghostbusters" & More
  • 3 Westside Gunn On How Virgil Abloh & "Coming To The End" Of His Rap Career Inspired 'And Then You Pray For Me'
  • 4 Lil Yachty Wants You To Be "Ready For Everything" At The Field Trip Tour
  • 5 GRAMMY Museum To Celebrate 50 Years Of Hip-Hop With 'Hip-Hop America: The Mixtape Exhibit' Opening Oct. 7

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  1. Eminem x Rihanna The Monster Tour

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  2. The Monster Tour: Eminem x Rihanna

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  3. Eminem x Rihanna: The Monster Tour Intro (Full HD)

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  4. Eminem & Rihanna Monster Tour Live Review| Billboard

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  5. Watch: Eminem X Rihanna "The Monster Tour" Intro (Video)

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  6. Eminem & Rihanna Kick Off "The Monster Tour" / Full Set List / Video

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  2. The Monster

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  4. The Monster (ft.Rihanna) #eminem#rihanna

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  6. The Monster Tour Eminem & Rihanna Live in Pasadena 2014 FULL CONCERT

COMMENTS

  1. The Monster Tour (Eminem and Rihanna)

    The Monster Tour. (2014) Anti World Tour. (2016) The Monster Tour was a co-headlining concert tour by American rapper Eminem and Barbadian singer Rihanna. The tour began on August 7, 2014, at the Rose Bowl in Pasadena and concluded on August 23, 2014, at the Comerica Park in Detroit.

  2. Eminem & Rihanna

    Eminem & Rihanna - The Monster Tour (Full Show @ MetLife Stadium) 17/08/2014Become a channel sponsor to access exclusive features. More: https://www.youtube....

  3. Eminem & Rihanna

    Become a channel sponsor to access exclusive features. More: https://www.youtube.com/c/eProTeam/joinDownload EJ Magazine: https://drive.google.com/drive/fold...

  4. Eminem & Rihanna Monster Tour Live Review| Billboard

    Eminem & Rihanna 's long-awaited Monster tour, which kicked off Aug. 7 in Los Angeles at a sold-out Rose Bowl, is billed as a co-headlining tour between the two music superstars, and the pair ...

  5. Eminem & Rihanna

    Become a channel sponsor to access exclusive features. More: https://www.youtube.com/c/eProTeam/joinDownload EJ Magazine: https://drive.google.com/drive/fold...

  6. Eminem, Rihanna Share Details of 'Monster' Mini-Tour

    One month after announcing that they'll embark on an unspecified mini-tour, Eminem and Rihanna have revealed the dates and venues for their summer co-headlining Monster tour. The pop superstar ...

  7. Review: 15 Thoughts On Eminem & Rihanna's 'Monster' Tour

    Behold, 15 thoughts on the "Monster" experience. 1. Taking a play out of the Carters' book, the show at New Jersey's MetLife Stadium (Aug. 16) opened with a mini-film. Rihanna puts her ...

  8. Eminem And Rihanna For Joint 'The Monster' Stadium Tour In US This

    The pair teamed up for Eminem's single 'The Monster' at the end of last year, and will now play a three-day joint tour together in August. "There are some shows coming up with Rihanna," Eminem ...

  9. Eminem and Rihanna Launch Rebellious, Unpredictable Monster Tour

    Eminem and Rihanna Launch Rebellious, Unpredictable Monster Tour. The Monster Tour opens with a 50-song set from two pop stars with more in common than you'd expect. By Matt Diehl. August 8, 2014 ...

  10. Eminem & Rihanna "The Monster Tour" Dates, Set List

    Eminem and Rihanna, who collaborated on 2013's "The Monster," a cut off Em's The Marshall Mathers LP 2, plan on stopping in three cities for this tour, New York, Los Angeles and Detroit.

  11. Eminem And Rihanna Play 48 Songs As They Kick Off 'The Monster' Tour

    It was one of the most anticipated tours in recent history, and Eminem and Rihanna didn't disappoint at they kicked off 'The Monster' tour in Pasadena, California last night (7th July) with a 48 ...

  12. The Monster Tour: Eminem x Rihanna

    Rihanna guested last year on Eminem's tune, "The Monster," the duo's fourth blockbuster collaboration. This tour was the next logical step. The two headliners s

  13. Eminem & Rihanna Team Up for 3-City 'Monster' Tour

    Eminem and Rihanna are hooking up again. The artists will be co-headlining a three-city tour in August. Dubbed the "The Monster" tour after their most recent collaboration on the single of the ...

  14. Eminem x Rihanna: The Monster Tour Intro (Full HD)

    The Monster Tour was a co-headlining concert tour by Eminem and Rihanna. The tour began on August 7, 2014 at the Rose Bowl in Pasadena and concluded on Augus...

  15. Rihanna + Eminem Announce The Monster Tour Dates

    The partnership between Rihanna and Eminem isn't merely one of hit singles. The twosome, who followed up the smash 'Love the Way You Lie' with 'The Monster,' will also hit the road together for ...

  16. Eminem & Rihanna Finish Monster Tour In The 'D'

    On Saturday, August 23, 2014, a capacity crowd of around 45,000 filled Comerica Park in Detroit, Michigan, for the final night of Eminem and Rihanna's six show Monster Tour run. Over the course ...

  17. Eminem & Rihanna Average Setlists of tour: The Monster Tour

    2. 1 Encore. 1. This feature is not that experimental anymore. Nevertheless, please give feedback if the results don't make any sense to you. View average setlists, openers, closers and encores of Eminem & Rihanna for the tour The Monster Tour!

  18. Eminem and Rihanna Announce The Monster Tour

    The tour, promoted exclusively by Live Nation, will kick off in Los Angeles on Thursday, Aug. 7 at the Rose Bowl with shows then lined up in New York City's Metlife Stadium on Saturday, Aug. 16 ...

  19. The Monster (song)

    The Monster (song) " The Monster " is a song from American rapper Eminem 's album The Marshall Mathers LP 2 (2013) featuring a guest appearance from Barbadian singer Rihanna. The song was written by Bebe Rexha, Eminem, Rihanna, Aalias, Jon Bellion, Maki Athanasiou, and Frequency, with the latter also handling production.

  20. Eminem & Rihanna

    This is the intro for Eminem & Rihanna's Monster Tour 2014. http://www.eminem.com.br

  21. Eminem

    [Chorus: Rihanna] I'm friends with the monster that's under my bed Get along with the voices inside of my head You're tryin' to save me, stop holdin' your breath And you think I'm crazy, yeah, you ...

  22. 4 Reasons Why Eminem's 'The Slim Shady LP' Is One Of The Most

    Before Kanye rapped about working at The Gap, Eminem rapped about working at a burger joint. The Slim Shady LP opened up space for different narratives in mainstream rap music.. The Slim Shady LP didn't feature typical rags-to-riches stories, tales of living the high life or stories from the street. Instead, there were bizarre trailer-park narratives (in fact, Eminem was living in a trailer ...

  23. Eminem ft. Rihanna

    Download Eminem's 'MMLP2' Album on iTunes now:http://smarturl.it/MMLP2Music video by Eminem ft. Rihanna "The Monster" © 2013 InterscopePlaylist Best of Emine...

  24. Rihanna x Eminem The Monster Tour Intro

    Rihanna x Eminem The Monster Tour Intro | follow Me on Twitter: RihannaDiary_ Instagram: RihannaDiary