Month: May 2004

How could we define the Detroit underground rap?
The Detroit underground rap has something raw and dark inside. You can feel the harshness of the industrial city inside of the Detroit rapper’s rhymes.
Although the influences and the variety of artists are numerous in Detroit, they all have something in common: the Detroit stamp.
Detroit rap is like the mirror of the city, it is a savant combination of horror trips that can be found in acid rap.The horrorcore you will find in artists’ music like Esham has its roots mostly in reality.
Detroit City is well known in America for its dangerosity. Crime belongs to the evey day life, particularly in the ‘hood.
The Detroit hood is a place where it is hard to survive. People have to deal with guns, drugs and poverty. The many pressures and the pain people keep bottled inside is reflected in the music of people who ‘rep the D-town’ like Kage and T-Roy who are both Detroit native and residents artists:
http://www.sbr-network.com/
Their songs are about real life experiences.
I had the chance to be in touch via email with Detroit rapper Backstab The Kingpin. Although we don’t share the same points of views about Eminem, we had the occasion to exchange some constructive ideas and I have learnt a lot from him about Detroit. I have interviewed him and my interview has been posted on a French hip hop website:
http://www.lehiphop.com/articles/backstab.php
The typical Detroit style can also be found in Backstab’s second album for instance. If you listen to tracks like ‘Raw Raps’ and ‘Madd Rhyma’, you will enjoy a typical Detroit sound.
Have you ever heard about an artist called Hysteria? She is white. She a Detroitresident and she is an emcee. Moreover: she is a genuine artist and she is talented. It is really worth listening to her rap that can be classified as hardcore rap. She raps with conviction and her voice sounds like the voice of a black woman.
She deserves credit for her work. You can discover more about her on this website:
http://www.hysteria1.com/
It is really worth having a deeper look at the Detroit underground artists. Many of them are talented and all of them have (even if they don’t like each other), something in common: the Detroit flavor.

Obie- style rhyme
December 5, 2003
Obie Trice is a rarity in the conceited world of hip-hop – a relatively modest MC, writes Khalil Hegarty.
http://www.theage.com.au/articles/2003/12/03/1070351645091.html?from=storyrhs
Detroit hip-hoppers have been busy this year. Since Eminem asserted his world dominance of hip-hop and bared his underground roots in the film 8 Mile, there’s been a growing interest in the city’s talent. The Motor City’s newest prodigy is an MC by the name of Obie Trice. In the past few months he’s been flat-out. He released his debut album, Cheers, two months ago, and he’s now on tour with the biggest-selling rap artist of the year, 50 Cent.
“This is my day off and I’m doin’ these f—in’ phone interviews,” the 26-year-old says from a hotel in Cincinnati.
For an artist in the middle of an international tour, Trice sounds remarkably fatigue-free. Through the Detroit street-drawl he sounds completely relaxed.
“Touring is excellent,” he says. “I’m seeing the world. Coming from where I’m coming from, you don’t get the opportunity to go to Europe in your 20s. You’re either dead or you’re locked up. For me to be seeing the world and doing what I’m doing is a beautiful thing.”
Trice isn’t exaggerating. There were more than 400 murders in Detroit last year, and more than half of the state of Michigan’s prison population is African-American. Indeed, Trice’s past was a life of cutting school, petty crime and mixing with the “wrong” people. Yet he managed to turn this life from the mess of drugs and guns into an international career.
“It’s either this or the hood,” he says casually. “I did my share of wrongdoings coming up. It was easy for me to turn it around and do what I’m doing now.”
Obidiah Trice was a typical Detroit kid, growing up in the suburb of Lauder. But anyone who has been to the city knows it can’t be compared to anything typical of a relatively safe Australia.
“Like any other city, you had crack, you had police, hustlers, you had murder, you had all that,” he says of his childhood. “Same shit, different city. You just had to watch your ass.”
Similarly, Trice’s years at high school were – to him – unremarkable, even though he attended the celebrated Cooley High, a school that has seen a bevy of talented musicians grace its halls.
“Cooley High, for me, I had a good time there. But I was like a drop-out. I’d go in there and just walk the halls and f— with the hoes.”
It would be easy to mistake Trice’s low-key tones for indifference. But he’s something that few rappers in today’s industry would ever contemplate being: humble. While 50 Cent wears his gunshot wounds like military decorations, Trice tries to keep his past to himself. It’s not that he’s ashamed; he just doesn’t think it’s worth dressing up. Rather than taking an on-stage alias, Trice is known by his name. Even a particularly violent period of his teen years – when he was thrown out of home – is something he talks about reluctantly.
“Yeah, I’ll talk about that,” he says quietly, but it doesn’t take long for Trice to become emotional and start raising his voice. “I went and stayed with my girlfriend for a bit. My chick was with this older nigger. He came to the crib one day when me and my girl were laying in bed. He just walked into the house and started picking a scrap with me. I was 15 years old; this motherf—er’s 38. So I’m dodging the blows when her bigger brother grabs him in a choke-hold and says, ‘What you doin’? That’s a little boy.’ I called my homie and got him to bring a gun over, and he brings a pistol through. So I’m about to shoot this nigger, and everyone’s saying to shoot him and nobody would know. But thanks to the grace of God, something was on my shoulders that stopped me. I almost killed him that night. Who knows, I might have got away with it. He could still be there, dead . . .”
Trice tails off, giggling slightly, not in a malicious way, but with the same manner that most people reminisce over adolescent mischief.
For Trice, life on the street is something he wants to keep in the past. Even Detroit’s underground clubs such as Hip Hop Workshop and Lush – where MCs such as himself and Eminem would battle on a regular basis – are low on his radar.
“I still go to those things every now and again,” he says hesitantly, “but I’m trying to have a major tour.”
Much of Trice’s ability to tear himself away from Detroit’s streets is thanks to his older brother, Terry.
“When I was young, he was like a father figure to me,” says Trice. “He gave me the push. He’d say, ‘Go do that music, you can do that.’ He guided me through it. That’s my brother-slash-pops. He’s still my manager. He’s on the road with me now.”
And the fraternal prodding has worked for Trice. After spitting rhymes through the window of Eminem’s car, Trice was signed to his Detroit record label. Soon, he was being flown to Los Angeles to work with Dr Dre, one of the most influential figures in contemporary music. And Trice is more than happy to admit that meeting and working with hip-hop’s heavyweights has been astounding.
“I’ve been working with Eminem since the end of the year 2000, but it’s not overwhelming any more. With Dre, I went out to LA, a car picked me up, took me the studio,” he says.
“There’s Ferraris outside of the studio and I’m like, ‘Ohhh man.’ So I walked into the studio and Dre says, ‘Obie! Wassup nigger,’ like he’s known me for years. We got in there, finished five bottles of Hennessy, worked for two days straight, and I knocked out five songs.”
Despite Trice’s reformed ways and new upmarket lifestyle, he still wears his allegiance to Detroit on his sleeve.
“All the people I grew up with, I’m still cool with,” he says. Ain’t nothin’ changed. I ain’t no snooty, arrogant type of motherf—er. I never turn my back on my people. I know that my people have been with me all the way.”
In fact, Trice sees no need to move to the glitz of New York or the laid-back climes of Los Angeles. “I’m still livin’ in Detroit,” he says proudly. That’s where I was born and raised and that’s probably where I’m gonna stay. It’s al

Lonely in the crowd, man you’d better applaud
The silly sound of the words I created, words I found
Words that will put you on the damn ground
Words that hammer, better let them stammer
Like rules of grammar
Inside of my brain, keep me prisoner of a chain
Punching rhymes
Words you could confuse with thousand birds
Results of my stress and my huge madness
I’m sick, sicker and nobody could be more nameless
Stop saying ‘God bless’ in your sarcastic mess
Hide you huge pride, there’s no ticket to ride
Each detonation is my inspiration
Stop being such a piece of trash
You’re the one I’d like to smash
I’m dizzy like D12’s Bizzy
You’d better leave me alone
I’m crazy in my insanity
Man don’t bother me I’m too busy
In my rotten universe I do curse
I’m getting from bad to worse
From verse to verse
My mind is perverse, my behavior is reversed
Guess why so much mess, there is too much stress
In my madness which increases my badness, my sadness and my addictedness
Really silly inside of my brain, there’s a huge complain,
Follow me and sing what is supposed to entertain, my silly refrain!

Many people will argue that Eminem wouldn’t have been noticed by the public without Dr Dre.
If it is true that the talented rapper and producer has influenced Eminem’s destiny for a large part, it is also true that Eminem had managed to impress some people on the local Detroit scene and even at school.
Among them, the Bass brothers, DJ Lisa Lisa and his former drafting class teacher.
Of course, Eminem has learnt a lot of technique from Dr Dre, but his ability to rap is a real gift. The way Marshall handles words and sentences is extraordinary.
Lisa Lisa recalls her open mic sessions on Detroit radio WHYT-FM. She had noticed Eminem and he used to be one of her favorites:
‘He was probably one of my top five rappers. But his style was nothing like it is now. He was kind of comical. He would always have a lyric or two that would make all of us bust out laughing.”
I didn’t know who Lisa Lisa was until I saw her on Todd Nelson’s video tape ‘The Man Behind The Mask’ where she expressed about how she had noticed Marshall at his early starts.
She remembers a shy and nice person, but also somebody very serious in the work he did:
“He was like a perfectionist. He would work with the producer mixing the track right up to the last minute before he would have to go on.”You will find some infos on Lisa Lisa on her website:
http://www.drqradio.com/showdj.asp?DJID=2644
Marshall’s friends who constantly work with him know it is true.
Bob Blair, Eminem’s former drafting class teacher was also impressed by Marshall’s talent. He recalls Marshall rapping at the school talent show:
“I would give anything to have a tape of that’
Bob Blair will also confirm that Marshall was a nice and well behaved young man:
‘He was a nice, quiet kid who had a group of friends and blended right in, I knew Marshall Mathers. I never knew Eminem or Slim Shady (Em’s alter ego).”
The Bass Brothers, who were both used to work mostly with black artists, simply because they were better changed their mind when they heard a young white rapper freestyling at a local radio show in 1992. Eminem’s rhyming skills had impressed the Bass Brothers who are still collaborating with him.
Nobody could describe Eminem’s early talent than insiders who have known him since he was a teenager.One thing is sure: Eminem was born to rap.
Marshall Mathers is a hardworking artist who hasn’t stopped improving his style since he started rapping. Each album is better than the preceding one. I guess his next album, which shall be entit

The song ‘Git Up’ from the D12World album has a lot of energic beats.
Although the words are mostly offensive, it creates an enthousiastic athmosphere and it’s a real pleasure to listen to it.
Kon Artis descibes the song as ‘pure adrenaline’:
‘Em created a track that is just pure adrenaline. We just went in the studio and tried to destroy whatever people might think about D12. Any backlash that Em has to deal with from the press we go through together. D12 is more than a group, we’re brothers.’
There is a lot of solidarity inside of the D12 group and all 6 members strongly fight against the press’ usual stereotypes.
You will probably enjoy Eminem’s rapid flow in the song and the way he plays with similar sounds. Eminem perfectly knows how to handle the same assonances inside of rhyme like a real poet does.
The D12 criminals are far from being ordinary club visitors, they have no hidden intentions. They are trouble makers who will enjoy seeing the situation escalating. They will take you by surprise, whether you like it or not.
Eminem’s introduction makes us think about bullets flying from a pistol. You won’t escape to them. A crazed Slim Shady will shoot his words at you:
’10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Ready or not here we come, here comes trouble in the club
11, 12, 13, pistols big as M 16’s
How the fuck we sneak in with this many heaters in our jeans
Nina, 2 nina’s, a peace and they dont even see us
Some shit pops off we squeeze each one they gon’ think its machine guns
Vanos vo vano, bananas in our flannels
Hands around our colt handles, hold them like roman candles
Vannas vo vannas, banana fanna fo fannas
Who come back all bananas, banna clips loaded
Managers, bouncers and the club owners, the motherfuckers dont want us
To come up and rush in the club and run up in it with a bunch of
Motherfuckers from Runyan, steady poppin them onions,
Ready set to go nut up, prepare to tear the whole club up
Fixin to get into some shit just itchin to choke someone up
You know we finna loc’n when we mixin coke with coke and nut rum up
Yeah Yeah oh, what up, see my people throw shit up
See you talk that hoe shit now when you down you dont get up
And can’t sit up your so slit up, the ambulance wont sew you up
They just throw you up in the trunk once they tag your big toe up
Heater no heater, automatic no matic
Mac or no mac it dont matter if I have or dont have it
You never know what im packin’ so you just dont want no static
And open up a whole can of whoop ass you dont wanna chance to
Risk it no biscuit, mili mac a mac milli
Really homie dont be silly, homie you dont know me really
You’re just gonna make yourself dizzy wonderin what the dealy
Fuck it lets just get busy D Twizzys back up in the hizzy!’
His fellows soldiers from Runyan Ave are ready to back him and to start trouble as quickly as possible. Swifty’s words are a dangerous bomb that will make you explode instantly. He will leave you with no breath and disconnect your soul:
‘I keep a shit load of bullets a pitpull to pull it out
And automatically explode on motherfuckers until they mouth be closed permanently
You get burned until i quickly you can not hit me niggaz to terrified to come get me,
Tempt me if you think Swifty won’t send a slug, people run,
When the reaper comes, the repercussions’ gon’ leak your blood,
Inglewood, steepin’ without a weapon, you leave, you gone,
I’m still runnin’ with stolen toasters while on parole,
Snatch you out our home, like eviction notices hoe,
When I unload, I’m known to never leave witnesses to roam,
When I’m blowed, I’ll write the wicked in scroll,
At the toll, when I’m sober I’m prone to roll up and disconnect your soul, nigga.’
There is a message in ‘Git Up’. It also targets many negative press critics. Eminem warns his critics and enemies to stop hating.
The reasons why they keep hating is due, most of the time to a great misunderstanding of their words. Kuniva will put things clear. He is well weaponed to definitly shut your mouth:
‘Now it’s proven it’s about to be a misunderstanding
In furniture moving, bullets flying, lawyers & mothers suing
Cause niggas don’t know the difference, you bitches just stick to fiction
It’s sickening, you can’t even walk in my jurisdiction rippin’ it,
Grippin’ the pump and who wanna fuck with a walking psychopathic
Pyromaniac shady cats with 80 gats
And maybe thats the reason that you gon’ get it the worst a
And since you jumpin’ in front of everybody you gon’ get it first
I dispurse the crowd with something vigor and versatile
So go on and record you verses now while you got a mouth,
And it’s not a joke, it’s some kind of riddle,
Kunizzle will lift up a 12 gizzle and throw a party from my equittle,
And a glock that you stop you from waking,
Bullets’ll hit your liver, I’ll even shoot native americans,
A Indian Nigga, we back in you life and back in your wife,
Hit you in the back with a knife and get it crackin’ tonight.’
‘Git Up’ is a well written track where Eminem, Swifty and Kuniva’s lyrical talents are enlightened.
“Git Up”
10, 9, 8, 7, 6, 5, 4, 3, 2, 1
Ready or not here we come, here comes trouble in the club
11, 12, 13, pistols big as M 16’s
How the fuck we sneak in with this many heaters in our jeans
Nina, 2 nina’s, a peace and they dont even see us
Some shit pops off we squeeze each one they gon’ think its machine guns
Vanos vo vano, bananas in our flannels
Hands around our colt handles, hold them like roman candles
Vannas vo vannas, banana fanna fo fannas
Who come back all bananas, banna clips loaded
Managers, bouncers and the club owners, the motherfuckers dont want us
To come up and rush in the club and run up in it with a bunch of
Motherfuckers from Runyan, steady poppin them onions,
Ready set to go nut up, prepare to tear the whole club up
Fixin to get into some shit just itchin to choke someone up
You know we finna loc’n when we mixin coke with coke and nut rum up
Yeah Yeah oh, what up, see my people throw shit up
See you talk that hoe shit now when you down you dont get up
And can’t sit up your so slit up, the ambulance wont sew you up
They just throw you up in the trunk once they tag your big toe up
Heater no heater, automatic no matic
Mac or no mac it dont matter if I have or dont have it
You never know what im packin’ so you just dont want no static
And open up a whole can of whoop ass you dont wanna chance to
Risk it no biscuit, mili mac a mac milli
Really homie dont be silly, homie you dont know me really
You’re just gonna make yourself dizzy wonderin what the dealy
Fuck it lets just get busy D Twizzys back up in the hizzy!
[Eminem – Chorus]
Git Up Now!
Lets get it crackin, Git, Its on and poppin
Its D12 is back up in this bitch, uh, there aint no stoppin
We’re gonna get it crackalatin
What you waitin for the waiters orders
Say no more fo tryin to play the wall and quit hatin
Git Up Now!
Notice you’re sittin, what the fuck is you deaf
You motherfuckers dont listen, I said,
We bout to get this motherfucker crackalatin’
Quit, procrastinatin’
What the fuck you waitin for get off the wall and quit hatin
[Swift]
I keep a shit load of bullets a pitpull to pull it out
And automatically explode on motherfuckers until they mouth be closed permanently
You get burned until i quickly you can not hit me niggaz to terrified to come get me,
Tempt me if you think Swifty won’t send a slug, people run,
When the reaper comes, the repercussions’ gon’ leak your blood,
Inglewood, steepin’ without a weapon, you leave, you gone,
I’m still runnin’ with stolen toasters while on parole,
Snatch you out our home, like eviction notices hoe,
When I unload, I’m known to never leave witnesses to roam,
When I’m blowed, I’ll write the wicked in scroll,
At the toll, when I’m sober I’m prone to roll up and disconnect your soul, nigga.
[Kuniva]
Now it’s proven it’s about to be a misunderstanding
In furniture moving, bullets flying, lawyers & mothers suing
Cause niggas don’t know the difference, you bitches just stick to fiction
It’s sickening, you can’t even walk in my jurisdiction rippin’ it,
Grippin’ the pump and who wanna fuck with a walking psychopathic
Pyromaniac shady cats with 80 gats
And maybe thats the reason that you gon’ get it the worst a
And since you jumpin’ in front of everybody you gon’ get it first
I dispurse the crowd with something vigor and versatile
So go on and record you verses now while you got a mouth,
And it’s not a joke, it’s some kind of riddle,
Kunizzle will lift up a 12 gizzle and throw a party from my equittle,
And a glock that you stop you from waking,
Bullets’ll hit your liver, I’ll even shoot native americans,
A Indian Nigga, we back in you life and back in your wife,
Hit you in the back with a knife and get it crackin’ tonight.

Friday May 07, 2004 @ 01:00 PM
By: ChartAttack.com Staff
Beastie Boys
http://www.chartattack.com/damn/2004/05/0705.cfm
It’s clear that almost anything can set Eminem’s short fuse ablaze and cause the rapper to retaliate in his music. Once reserved for serious feuds in underground hip-hop, Slim Shady has carried the tradition of on-record dissing with him into the pop world, leaving artists (most of whom can’t rhyme their reply) confused by severe insults hurled their way over petty squabbles or small misunderstandings with the rapper. To date, so many high-profile artists and celebrities have been dissed by Em that they could get together and record a “We Are The World”-style benefit song for themselves. Over the last five years Moby, Christina Aguilera, Jermaine Dupri, *NSYNC’s Chris Kirkpatrick, Everlast, Britney Spears, Benzino, Pet Shop Boys, Canibus, Limp Bizkit, Dilated Peoples, Pamela Lee (twice), P. Diddy, Insane Clown Posse, Norah Jones, Ja Rule and Christopher Reeve (three times) have all found themselves on Eminem’s lyrical shit list.
So as Shady nears the end of the recording process of his fourth LP, one has to wonder ‘ who will he dis next? The Olsen Twins? Big Boi from Outkast? Christopher Reeve, just for something new? For those placing bets with their friends, Chart may be able to give you a hot tip on three potential candidates for Eminem’s next dis campaign: the Beastie Boys.
We caught up with Beastie Boys last week in New York City. The night before, they appeared on MTV premiering a clip of their ridiculous new video for “Ch-Check It Out,” the first single from their long-anticipated sixth album To The 5 Boroughs, set for release in mid-June. Later that night, Eminem and his band D12 also performed. Somewhere during the evening, Em stopped by the Beastie Boys’ dressing room to show respect to the white rappers who paved the way for him. There was a mix-up, which, for the Beastie Boys, could turn out to be deadly.
“It was actually funny, ’cause there was a little misunderstanding when he came to the dressing room,” explains the group’s MCA (a.k.a. Adam Yauch). “Because we’d been joking around, saying that we should have called our album Still Doin’ It, Huh? and we kept on saying that. And so, when Eminem came into our dressing room, he was like, ‘Yo, what’s up, just wanted to say what’s up to everybody” and we shook his hand and stuff. And then he said to us, like, ‘Still doin’ it, man, still doin’ it.’ And we all just burst out laughing. He kind of looked puzzled and walked out.”
“Nah, I don’t think he’ it wasn’t that big of a deal,” says Mike D (a.k.a. Mike Diamond).
“I wonder if he told his group,” MCA ponders.
“He must have a sense of humour…” Diamond speculates.
Marshall, if you’re reading this, before you go record an album’s worth of anti-Beastie Boys songs, please know that it was just a misunderstanding. Nothing more. Beastie Boys respect you. Really.
Says Mike D, “He definitely has his own way ‘ the way he switches his flows up. Very versatile MC.”

The 313
‘Now everybody from the 313, put your motherfucking hands in the air and follow me!’.
Continue reading “The 313”

The Detroit underground is rich of various talents and artists. Many Detroit underground emcees have collaborated with Eminem and his D12 crew. Let’s have a short look at four of them :
King Gordy
8 Mile lovers will probably remember the scene where rapper Big O (King Gordy) talks with DJ Bushman in the studio at the very moment when Jimmy discovers Alex cheating on him.
You gotta love King Gordy’s wicked style. The rapper, who defines himself as an ‘ entity ‘ has realeased his debut album called ‘ The Entity ‘ in 2003.
Sarcastically called by Eminem ‘ the fattest Burger Killer ‘, King Gordy’s style has something in common with Slim Shady. King Gordy talks about dark subjects like depression. He defines himself as the ‘ ghetto Edgar Allan Poe ‘, because his lyrics are very close to scary tales :
‘I’m hip hop with a rock and roll twist, the ghetto Edgar Allen Poe.’
King Gordy is real in his emotions and feelings and he wants to share what he’s going through with his fans:
“Sometimes I feel real violent, sometimes I feel real dark and depressed, and that’s what I write about usually.Especially if that’s what the beat’s calling for. I’m not happy, so I can’t make happy songs. My fans want to feel me, feel my emotions, feel what I go through.”
Artists from Shady Records such as Eminem, Bizarre and Obie Trice have collaborated with King Gordy. The songs ‘Situations’ (featuring Obie Trice), ‘Time To Die’ (featuring Bizarre of D12) and ‘The Mask’ are good examples of their artistic collaboration.
Bareda aka Mr Wrong
Bareda is native from Detroit and he started his career as a member of DaRabeez (Swifty Mc Veigh’s group).
He released the single ‘ Beat Don’t Stop ‘.
Bareda has collaborated with numerous atists such as Cee-Lo of the Goodie Mob, Twista, Ja Rule and Memphis Bleek.
He also went on tour with Outkast.
In 1999, Bareda joined the Lyricist Lounge Show as a writer and also as an actor. He used to live in LA, but since his return to Detroit City, he took the nickname ‘ Mr Wrong ‘. Bareda formed the Raw Collection with his fellow Swifty Mc Veigh from D12.
Uncle Ill
As his nickname points it out so well, Uncle Ill is one of the illest underground emcees of Detroit.
Uncle Ill began rapping at the age of 12.
As well as Eminem, Uncle Ill has been influenced a lot by Ice T.
He has worked with well known Detroit artists such as Kid Rock and Eminem.
Uncle Ill has collaborated with Detroit rapper MC Hush to create the group Da Ruckus. Uncle Ill has released ‘If The Beef’, ‘We Shine’ with Eminem and ‘Paperchase’ with D12’s Swifty.
Uncle Ill has collaborated with producer Mad Chemist and has recorded an album at Silent Records, a company that is directed by Marc Kempf (Eminem’s former manager).
Uncle Ill has some energic beats and a strong and entertaining voice.
‘When I heard the strength of Uncle Ill’s songwriting and production’ and his voice is better than ever, I knew this would be a hit.” (Marc Kempf)
DJ Butter
DJ Butter, born Barry Yett is a Detroit producer, CEO and a DJ at the same time.
His first album was called ‘ Kill The DJ ‘ and it featured numerous artists such Eminem, Paradime, Almighty Dreadnaughtz and Royce Da 5’9″.
DJ Butter started Djing when he was 12.
He used to be D12’s first DJ in 1999. He has produced more than 200 Detroit artists including MC Corona (the female MC who plays in 8 Mile), King Gordy and Obie Trice.
DJ Butter has released a hip hop documentary : a DVD that contains interviews of Eminem, Obie Trice and Slum Village.
“The documentary is about unity before money and after money.I just rap about my pain. I rap about bringing Detroit together. There’s a lot of chaos in Detroit.”
(DJ Butter)

The well known and dope MC’s from the D12 group used to meet and to rap at the Hip Hop shop at 7 Mile Road. They used to battle and to freestyle. At the hip hop shop, they met a gifted aspiring MC : Karnail Pitts aka Bugz.
Although he was inside of the D12 group, Eminem was supposed to stay a temporary D12 member and to make a few guest appearences in the goup. So it was arranging for the group to have found a sixth member, Bugz :
‘ The concept with Bugz being in the group, they had six emcees. I would make a guest appearence on a couple of records. ‘ (Eminem)
Bugz brought some energy and some new talent into the group :
“Bugz was at the shop, that’s how we met him. He was one of those young cats that every time he would spit, he would get better and better. Finally we were like, ‘Let’s put him in the group.’ We kept going through different group members’but when we finally made it click, it was with Bugz in the group. “(Eminem)
When Eminem launched his career and when ‘ shady records ‘ was created, he managed to get D12 their own deal :
‘ I got this deal with Shady basically for them, the group, not knowing if it was going to work or not. We was just rolling the dice. ‘
Then, sadly, on May the 21st 1999, Bugz got shot at Detroit’s Belle Island Park :
‘ Some guy was getting mad ’cause Bugz was getting the best of his boy [in the fight] and he couldn’t take it like a man. ‘ (Swifty Mc Veigh)
A bloody nightmare.
The D12 members were devastated when they heard the news :
‘ When Bugz died, it was such a shock. It just came out of nowhere. ‘
Eminem was supposed to perform the day Bugz was shot.
The D12 crew didn’t know how to go on with only 5 members.
Eminem asked the group if he could take Bugz’s place :
‘ Is it cool if I take Bugz’s place ? ‘
That’s how he became a permanent and official D12 member.
Eminem’s overwhelming success opened the doors to D12’s success. As a consequence, some people take Eminem for the lead singer of a band which is due to a total misunderstanding of the group’s context and rules.
Eminem is one gifted member of the dope rap group. Each member has his importance, his role and his talent to show to the public. Eminem is a proud member of the D12 family where loyalty means everything.

A mom is making desperate attempts to reconcile with her son. She is dying of breast cancer. A dramatic situation. This woman happens to be Eminem’s mom.
In a recent article from ‘The Mirror’, she claims: ‘I am dying of cancer but my son Eminem won’t pay to save me’:
http://www.mirror.co.uk/news/allnews/tm_objectid=14199665&method=full&siteid=50143&headline=i-m-dying-of-cancer-but-my-son-eminem-won-t-pay-to-save-me-name_page.html
Debbie loses weight every day. She faces banktrupcy over the medical fees for her cancer treatment. Moreover, she is heartbroken because her son Marshall remains angry with her.
Is Marshall a monster for leaving his mom alone in such dramatic situation? Certainly not. Marshall is an abused child who is still hurt by what his mom did to him when he was a kid. Of course, he has exorcised most of the demons from his past in songs like ‘Cleaning Out My Closet’, but deep inside he must still feel wounded. Many kids wouldn’t have overcome such circumstances. Luckily, Marshall did.
Some of his detractors often argue that Debbie is treated badly by her son Marshall because he’s a blatent mysogynist- which is untrue.
Debbie always wants to appear a a perfect mom in front of the media. Each time I have seen her on TV, her language clearly showed how much she wanted to prove which kind of good and overprotective mom she was towards her first son. The trouble is, many facts dement her statements as well as many people such as Kim and her former husbands and boyfriends witness the contrary.
So many people who used to live with Debbie or who knew her personnaly can testify how sick her behavior was.
Also, which mom would dare suing her own son for a total amount of 12 million dollars and then claim she never intented to sue him, that it was Kim’s fault?
‘I never intended to sue my son. The lawsuit was my attempt to hold on to my home. I’d given Marshall my trailer to rent when I moved back to Missouri. But Kim fell behind with the payments. I figured I had to sell it to pay the debt, but she wouldn’t let me. She threatened me with a lawyer, so I consulted one myself. Then the whole thing just escalated. The first thing I knew, I swear, was when Marshall rang me and said, ‘Mom, why are you suing me for $10 million?’ I nearly fell over. It was ludicrous. Then word got out and the world saw me as an evil bitch from hell. What mother sues her own son? I was cursed in public, spat at in shopping malls.’
Debbie always expected Marshall to apologize. Did I understand well? Yes, Debbie wants Marshall to apologize. For abusing him? For denouncing true facts about Debbie in his lyrics?
Maybe this is precisely where the problem lies: Debbie doesn’t want to admit her fault which is exactly what hurts Marshall so much and maybe the main reason why he doesn’t manage to forgive her:
‘See what hurts me the most is you won’t admit you was wrong…’ (Eminem, Cleaning Out My Closet’)
Many Eminem fans may think that Eminem doesn’t talk to his mom any more, but it is untrue. No matter how bad their relationship may be, they are both still in touch.
Debbie feels the urge to reconcile with Marshall, she is very conscious that her life may end soon. Despite all that happened between mom and son, Marshall needs to realize the emergency of the situation: his mom may die soon and it is always horrible to cope with the death of relatives without any sign of forgiveness. But Debbie, just one question: Why don’t you admit you were wrong with your son?
If you were honest enough to admit your mistakes, you’d recover the son you pretend to love so mu