Upcoming documentary Something From Nothing features interviews with a full spectrum of hip-hop stars, from oldschool pioneers like Afrika Bamabaataa and Grandmaster Caz through '90s gangsta rappers Ice Cube, Snoop and Dre to present day rhymers including Kanye West, Eminem & Nas dropped a freestyle for the movie
Eminem revealed that he has started work on his next solo record during an interview with Hot 97's Peter Rosenberg this morning. "I'm kinda getting into my next record a little bit," the Detroit rapper said.
The album will be his first solo record since 2010's Recovery, and the new record will be the followup to Hell The Sequel, the debut from his collaborative project with Royce da 5'9", Bad Meets Evil.
That's not all Eminem is working on: He's completing work on a new album from the hip-hop supergroup Slaughterhouse, he said. Their Shady Records debut is out June 12th.
the four members of Slaughterhouse – Royce da 5'9", Joe Budden, Joell Ortiz and Crooked I – spoke with Rolling Stone about the new record, Welcome To: Our House, and Eminem's contribution as executive producer.
"He'll come in and say 'Maybe change a line here, change a verse there, maybe move this around, let me add an instrument here,'" said Royce. "That's just what an executive producer does . . . From day one, Marshall was hands-on." During his chat with Rosenberg, Eminem also confirmed that Slaughterhouse will play Hot 97's Summer Jam, which takes place June 3rd at MetLife Stadium.
Apparently, Eminem requires that the hotel staff block all the light from the windows in his room by placing tin foil over the glass. This way, the ‘Lose Yourself’ rapper can get a full night’s rest without any interruption.
Furthermore, Em also requests that his suite be outfitted with speakers pumping ambient music throughout the room. “The noise and darkness gets Eminem the best night’s sleep,” a source told the Sun. “He uses the technique as he’s always jumping time zones.”
Considering the source, we don’t know if any of this is true or not. Some thick curtains and ear plugs could possibly be a better alternative than tin foil and Yanni music, but we digress.
However, Eminem has asked for some unusual things in his tour rider before.
The Smoking Gun uncovered Em’s food request list for his ‘Recovery’ tour in 2010. In it, the ‘Not Afraid’ rapper demanded that his dressing room have Gundelsheim pickles, jumbo shrimps, deli meats, condiments and 25 pound dumbbells on hand. What the dilly, yo?
We can only assume that Eminem loves to eat shrimp cocktails and pickles after a good workout.
Video of it is below, embedded at the end of the article. Besides gushing about family life, the joy she feels at coming back on stage – as well as the pain of having to cancel dates because she knew she disappointed fans in doing so –, Celine also takes a question about a comment Kate Winslet made a while back.
While promoting the 3D re-release of “Titanic,” Kate was asked how she felt about the title song, “My Heart Will Go On,” which Celine sings.
Without meaning any offense, she said she'd become sick over it because she'd heard it so many times –her exact words were “[I feel] like throwing up. No, I shouldn't say that. No, actually, I do feel like throwing up.”
Asked about this comment in particular, Celine is very diplomatic in her answer: she understands why Kate would say these things (especially given the gibes she was often subjected to when it played on the radio or on TV), but she can't agree.
“If I just count how many times I've sung it, maybe it'll get me sick. If she feels tired just hearing it, and, like, throwing up, I'm glad she was not the one singing it,” Celine says smiling.
The “Titanic” song helped Celine become part of history and, if only for that, she could never bear it any ill will.
“'My Heart Will Go On' gave me the opportunity to be associated with a classic that will live forever,” the diva says.
In the same interview, she jokes / teases about the possibility of a very unexpected duet, with none other than rapper Eminem.
Celine's eldest son is a fan of Em's music and, told that she probably can't sing along with him, Celine sees the humor in it, saying one should never rule out such a collaboration.Check out the video to see what the diva also has to say about her amazing family and returning to the Las Vegas stage.
Jessica Sanchez has yet to sign any record deal post-"American Idol", but she already has one name in mind when it comes to her dream collaboration. In an interview with MTV , the runner-up of season 11 calledBeyonce Knowles her inspiration in music, but she would prefer to have Eminem as a collaborator in her debut album.
"This is going to seem odd, but I love ," the 16-year-old singer shared her thought. On the reason why, she explained, "He has so much conviction and emotion in the way he raps; every word that he raps, you feel it. And I think our talents would mesh. So, hopefully, it could happen, and I would just die if he'd collaborate with me!"
Lebron James Rapped The Way i am before game 7
Em will likely appear in a video advertising the game Acid Ghost, which will be unveiled at the E3, Electronic Entertainment Expo in Los Angeles, according to NME.com. That conference takes place June 4-7. So we'll find out more in a few weeks. Supposedly, Em plays the computer game in the video. The game is in the post-production phase and is aimed at an older, more mature gamer
The vibe was markedly less earnest over at This Tent, where eccentric Motor City rapper Danny Brown led off a hip-hop triple shot that would also feature Eminem protege Yelawolf and Kendrick Lamar. Donning yacht-appropriate white pants, gold-rimmed sunglasses and Skrillex-like hair, Brown triumphed in his attempts to warm up the still-tame Bonnaroo hordes, imploring that they "make some noise for everybody gettin' nasty in the tents tonight." Brown laid down his lecherous fow with confidence for much of the set — the 2 Live Crew-worthy "I Will" was a particular crowd favorite – but at other points he seemed a bit lost, pacing the stage aimlessly and jumbling his rhymes.
Yelawolf made many shout outs to his label boss Eminem and momentarily psyched out the crowd, who thought that a guest appearance from last year's Bonnaroo headliner might on the horizon. (It wasn't.) But the lanky, tattoo-covered Alabamian didn't need Em's help in enrapturing crowd. His was the first show of the festival to truly go off — the call-and-response interplay on Dirty South tracks like "No Hands" and "Trunk Muzik" echoed to Bonnaroo's farthest reaching campsites.
Though it was an obvious crowd-pleasing portion of the set, Yelawolf's stranglehold loosened a bit with a mid-set karaoke break that featured the rapper speak-singing over snippets of Johnny Cash, Beastie Boys, Metallica and NWA hits. It was a gimmick that the rapper, who was already killing it, didn't need. Luckily, he would get back to serious business, closing his set with a grimy "Pop the Trunk" that rattled the farm something' fierce. Closing out the hip-hop block was self-proclaimed World's Best Rapper Kendrick Lamar, spirited and furiously charged in his own right but playing to a crowd sapped of all its energy
Coming soon to a California federal courtroom will be a trial where music producers Markand Jeff Bass fight for tens of millions of dollars in compensation from Aftermath Records over digital downloads for Eminem recordings.
The case is one of the most closely watched in the music business, but what the trial will look like is far from clear
.At the moment, both sides are debating the witnesses and type of testimony that will be heard, and the conversation has moved from a discussion purely on the substantive legal questions at issue to an entertaining sideshow about Eminem's career, including who deserves credit for helping the rapper attain his superstar success and who was merely lucky enough to be along for the ride.
The dispute over whether the Bass brothers were cheated out of digital revenue first got to trial in 2009. The plaintiffs lost.
But in 2010, the 9th Circuit Court of Appeals ruledthat the lower court judge had erred by denying summary judgment to the plaintiffs that a "licensing" provision of a contract applied instead of a "sales" provision when calculating royalties on downloads from outlets like iTunes.
The distinction potentially meant that the Bass brothers were owed a much larger percentage of royalties than they had received. The case was remanded down to the district court level to figure out what Aftermath owed -- here was one suggestion -- and since then, lots of other musicians have brought similar claims against their record labels.
A second trial will commence as early as this month, and in preparation, both sides are showcasing some of their sensitivities.
The dispute is first and foremost about boring ol' contractual interpretations and accounting calculations. But the plaintiffs want to give the jury some context, including the historical background of the case.
Aftermath doesn't believe that a trial is necessary at all, saying there are no facts in dispute. Despite the 9th Circuit decision, widely seen as a victory for musicians in digital royalty claims, Aftermath is basically declaring victory in this case, pointing to a judge's order that it is permitted to deduct distribution fees.
But if the case does get to trial, Aftermath fears that the proceedings will become another opportunity for the plaintiffs to go about "painting themselves as 'struggling musicians and producers' who 'discovered' and 'groomed' Eminem and who have had to persevere against the big bad record company trying to cheat them out of royalties."
The record label asks the judge to exclude "background" evidence as "irrelevant, prejudicial and (a) time-wasting sideshow" and specifically wants the plaintiffs' first witness, Joel Martin, who manages Eminem's publishing, to be forbidden from reprising for the jury's ears the "David vs. Goliath" tale.
All that said, Aftermath says that if a judge permits "background" evidence, it should be allowed to provide its own -- which, according to the company's court papers, means a jury would hear testimony that:
"Eminem is responsible for Eminem’s talent, and that Defendants have been responsible for (and have paid for) the marketing and promotion that has helped to sell Eminem’s records. The fact that Plaintiffs have been able to passively share in revenues generated by Eminem’s talent and Defendants’ marketing and promotion efforts rightly puts into perspective Plaintiffs’ exaggerated claims about their contributions."
Aftermath says it should also be allowed to introduce evidence that the Bass brothers aren't "struggling musicians" but have received tens of millions of dollars in royalties already and will continue to get more, "all because of the happenstance that they signed Eminem to an exclusive contract when he was an up-and-coming artist."
This, of course, drew an angry response from the plaintiffs.
"The jury will need to understand some background -- who Plaintiffs are, what their relationship is to Eminem, and the history of Plaintiffs’ dispute with Defendants culminating in the Ninth Circuit’s decision in favor of Plaintiffs -- but it will not need to determine whether Plaintiffs are deserving human beings or whether Plaintiffs have made enough money. Defendants do not explain -- because they cannot -- how the types of evidence about Plaintiffs’ wealth and supposed luck that featured so prominently in Defendants’ case last time around could be at all relevant to the remaining issues in the case. To the contrary, it would result in a distracting sideshow in which Plaintiffs would be called upon to present evidence about Defendants’ wealth and the extent to which they deserve it."
So there you have it. Both sides are accusing the other of making a prejudicial sideshow and are threatening to one-up the other with evidence about their adversaries' enormous wealth and luck. It's up to a judge to step in here and declare some order. Otherwise, the trial is going to devolve into an affair where the parties debate who is more useless in the music industry -- record producers or record labels.
Nine gun shots wasn't enough to take out 50 Cent, but a bad hamburger could have been the undoing of rap's #1 bad guy. The G-Unit general was hospitalized this week with stomach pains, but a phone call from his homey Eminem surely lightened the mood.
"I'm in a dead serious moment like, 'Damn, I don't believe this is happenin' right now,' " Fif said recalling the moments before Slim Shady phoned him. "He goes, 'Yo Fif, you were shot nine times man if you die over a burger, this sh-- ain't gonna go right. People ain't gonna be feelin' this.' "
On Wednesday, Fif tweeted a picture of himself in a hospital bed and sent a public message to his boxing friend Floyd Mayweather that read: "I don't want to go into surgery."
Lucky for him, he didn't have to. When MTV News checked up on 50 at his NYC G-Unit office on Thursday, just hours after he was released from the hospital, he said he was able to avoid going into surgery to remove blockage in his small intestine.
"I'm feelin' better; I'm in good spirits," Fif added.
DJ Drama, who is in New York to promote his upcoming mixtape with 50,The Lost Tape, told MTV News he was worried about his boy. To lift the gangsta rapper's spirits Drama sent three stuffed animals to 50: a giraffe, an elephant and a lion.
They say it's the thought that counts, but Drama's get-well gifts didn't go over so well. "That wasn't cool. That's all you get," 50 told Drama jokingly while our cameras rolled. "You get 15 tracks, you damn near have to die to do a Gangsta Grillz and this is the thanks I get?"
Stay tuned to MTV News' Mixtape Daily for more on 50 Cent and DJ Drama's The Lost Tape, which will be released on May 22.