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Eminem performs at the 2020 Oscars

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Eminem Performs "Lose Yourself" At The 2020 Oscars

The 2002 Eminem track was the first hip-hop song to win the Academy Award for Best Original Song

GRAMMYs/Feb 10, 2020 - 08:39 am

Following a charming show-opening set from Janelle Monáe, 15-time GRAMMY winner Eminem performed his diamond-selling song "Lose Yourself" at the 2020 Oscars.

After an extensive video compilation, introduced by Lin-Manuel Miranda, celebrating the impact of music in film, Eminem took to the stage to deliver a powerful surprise performance of his iconic track. 

Released in 2002, "Lose Yourself" is a hit single featured on the soundtrack to 8 Mile, the hip-hop drama starring Eminem and inspired by the rapper's experiences in the underground rap battle scene. 

Read: Billie Eilish Delivers Touching Performance Of "Yesterday" At 2020 Oscars

In 2003, the song won the Academy Award for Best Original Song, making it the first-ever hip-hop track to receive the award. Last night's performance comes 17 years after the song accomplished the historic feat, a hilarious realization Eminem joked about on social media.

"Lose Yourself" also won two GRAMMYs, Best Male Rap Solo Performance and Best Rap Song, at the 46th GRAMMY Awards, held in 2004; it was also nominated for Record Of The Year, Song Of The Year and Best Song Written For A Motion Picture, Television Or Other Visual Media that year. 

Eminem last received a GRAMMY nomination for his 2018 track, "Lucky You," at the 61st GRAMMY Awards, held in 2019.

Watch Janelle Monáe Open The 2020 Oscars In Sparkling Performance

Photo of Eminem performing at the Rock And Roll Hall Of Fame Induction Ceremony in 2022.
Eminem performs at the Rock And Roll Hall Of Fame Induction Ceremony in 2022

Photo: Jeff Kravitz/FilmMagic via Getty Images

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New Music Friday: Listen To New Albums & Songs From Eminem, Maya Hawke, ATEEZ & More

Dive into the weekend with music that’ll make you dance, brood and think — by Jessie Reyez, Ayra Starr, Adam Lambert, and many more.

GRAMMYs/May 31, 2024 - 04:11 pm

After the cookouts and kickbacks of Memorial Day weekend, getting through the workweek is never easy. But you made it through — and now it's time for another weekend of however you decompress. As always, killer jams and musical food for thought have arrived down the pipeline.

As you freshen up your late-spring playlist, don't miss these offerings by artists across generations, moods, genres, and vibes — from K-pop to classic country and beyond.

Eminem — "Houdini"

It looks like Dua Lipa isn't the only artist to name-drop Erik Weisz this year. In a recent Instagram video with magician David Blaine, Eminem hinted at a major career move, quipping, "For my last trick, I'm going to make my career disappear," as Blaine casually noshed on a broken wineglass.

With Em's next album titled The Death of Slim Shady, fans were left in a frenzy — was he putting the mic down for good? If "Houdini" is in fact part of Eminem's final act, it seems he'll be paying homage to his career along the way: the song includes snippets of Em classics "Without Me," "The Real Slim Shady," "Just Lose It" and "My Name Is."

The superhero comic-themed video also calls back to some of the rapper's iconic moments, including the "Without Me" visual and his 2000 MTV Video Music Awards performance. It also features cameos from the likes of Dr. Dre, Snoop Dogg, 50 Cent, and Pete Davidson — making for a star-studded thrill ride of a beginning to what may be his end. 

Read More: Is Eminem's “Stan” Based On A True Story? 10 Facts You Didn't Know About The GRAMMY-Winning Rapper

Maya Hawke — 'Chaos Angel'

"What the Chaos Angel is to me," Maya Hawke explained in a recent Instagram video, "is an angel that was raised in heaven to believe they're the angel of love, then sent down to do loving duties."

Chaos Angel, the third album by Maya Hawke, out via Mom+Pop Records, is an alt-rock treasure with a psychologically penetrating bent. Smoldering tracks like "Dark" and "Missing Out" plumb themes of betrayal and bedlam masterfully.

Jessie Reyez & Big Sean — "Shut Up"

Before May 31, Jessie Reyez's 2024 releases have come in the form of airy contributions for Bob Marley: One Love and Rebel Moon. And for the first release of her own, she's bringing the heat.

Teaming up with fellow rapper Big Sean for "Shut Up," Reyez delivers some fiery lines on the thumping track: "They b—es plastic, that b— is a catfish, oh-so dramatic/ And I'm sittin' pretty with my little-ass t—es winnin' pageants." Big Sean throws down, too: "B—, better read the room like you telepromptin'/ And watch how you speak to a n—a 'cause I'm not them."

Foster the People — "Lost In Space"

Indie dance-pop favorites Foster The People — yes, of the once-inescapable "Pumped Up Kicks" fame — are back with their first new music since 2017's Sacred Hearts Club. The teaser for their future-forward, disco-powered new song, "Lost in Space," brings a psychedelic riot of colors to your eyeballs.

The song is equally as trippy. Over a swirling, disco-tinged techno beat, the group bring their signature echoing vocals to the funky track, which feels like the soundtrack to an '80s adventure flick. 

"Lost in Space" is the first taste of Foster The People's forthcoming fourth studio album, Paradise State of Mind, which will arrive Aug. 16. If the lead single is any indication — along with frontman Mark Foster's tease that the album started "as a case study of the late Seventies crossover between disco, funk, gospel, jazz, and all those sounds" — fans are in for quite the psychedelic ride.

Arooj Aftab — 'Night Reign'

Arooj Aftab landed on the scene with the exquisitely blue Vulture Prince, which bridged modern jazz and folk idioms with what she calls "heritage material" from Pakistan and South Asia. The album's pandemic-era success threatened to box her in, though; Aftab is a funny, well-rounded cat who's crazy about pop music, too. Crucially, the guest-stuffed Night Reign shows many more sides of this GRAMMY-winning artist — her sound is still instantly recognizable, but has a more iridescent tint — a well-roundedness. By the strength of songs like "Raat Ki Rani" and "Whiskey," and the patina of guests like Moor Mother and Vijay Iyer, this Reign is for the long haul.

Learn More: Arooj Aftab, Vijay Iyer & Shahzad Ismaily On New Album Love In Exile, Improvisation Versus Co-Construction And The Primacy Of The Pulse

Willie Nelson — 'The Border'

By some counts, Willie Nelson has released more than 150 albums — try and let that soak in. The Red Headed Stranger tends to crank out a Buddy Cannon-produced album or two per year in his autumn years, each with a slight conceptual tilt: bluegrass, family matters, tributes to Harlan Howard or the Great American Songbook. Earthy, muted The Border is another helping of the good stuff — this time homing in on songwriters like Rodney Crowell ("The Border"), Shawn Camp ("Made in Texas") and Mike Reid ("Nobody Knows Me Like You.") Elsewhere, Nelson-Cannon originals like "What If I'm Out of My Mind" and "How Much Does It Cost" fold it all into the 12-time GRAMMY winner's manifold musical universe.

Explore More: Listen To GRAMMY.com's Outlaw Country Playlist: 32 Songs From Honky Tonk Heroes Willie Nelson, Waylon Jennings, Merle Haggard & More

ATEEZ — 'GOLDEN HOUR : Part.1'

South Korean boy band ATEEZ last released new material with late 2023's The World EP.Fin: Will. Now, they're bringing the K-pop fire once again with their 10th mini-album, GOLDEN HOUR  Part.1.

Released in a rainbow of physical editions, the release was teased by a short clip for "WORK," where ATEEZ pans for gold like old prospectors in an off-kilter desert scene, then proceeds to throw the mother of all parties. As for the rest of GOLDEN HOUR, they bring flavors of reggaeton ("Blind), wavy R&B ("Empty Box") and reggae ("Shaboom") — further displaying their versatility as a group, and setting an exciting stage for Part.2.

Learn More: Inside The GRAMMY Museum's ATEEZ & Xikers Pop-Up: 5 Things We Learned

Ayra Starr — 'The Year I Turned 21'

Beninese-Nigerian singer and GRAMMY nominee for Best African Music Performance Ayra Starr pays homage to the big two-one with her second album, The Year I Turned 21, which she's been teasing all month. We've seen the crimson, windswept cover art; we've soaked up the 14 track titles, which reveal collaborations with the likes of ASAKE, Anitta, Coco Jones, and Giveon. Now, after small tastes in singles "Commas,""Rhythm & Blues" and "Santa" (with Rvssian and Rauw Alejandro), we can behold what the "Rush" star has called "excellent, sonically amazing" and "unique, because I've been evolving sonically."

Watch: Ayra Starr’s Most Essential “Item” On The Road Is Her Brother | Herbal Tea & White Sofas

Adam Lambert — "LUBE" & "WET DREAM"

The "American Idol" and Queen + Adam Lambert star is turning heads — for very good reason. He's going to release AFTERS, a new EP of house music and an unflinching exploration of queerness and sex-positivity. "I throw many house parties and my aim was to create a soundtrack inspired by wild nights, giving a voice to our communities' hedonistic desires and exploits," Lambert explained in a press release.

The first two singles, "LUBE" and "WET DREAM," achieve exactly that. From the pulsing beat of "LUBE" (along with the "Move your body like I do" demand of the chorus) to the racing melody of "WET DREAM," it's clear AFTERS will bring listeners straight to a sweaty dance floor — right where Lambert wants them.

Wallows Talk New Album Model, "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover

Kid Cudi performs at Coachella 2024
Kid Cudi, whose music often discusses mental health, performs at Coachella 2024.

Photo: Theo Wargo/Getty Images for Coachella

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10 Times Hip-Hop Has Given A Voice To Mental Health: Eminem, J. Cole, Logic & More Speak Out

From the message of "The Message" to Joe Budden's vulnerable podcast and Jay-Z speaking about the importance of therapy, read on for moments in the history of hip-hop where mental health was at the forefront.

GRAMMYs/May 20, 2024 - 03:10 pm

In a world of braggadocio lyrics, where weakness is often looked down upon, hip-hop can often seem far from a safe place to discuss mental health. 

But underneath its rugged exterior, hip-hop culture and its artists have long been proponents of well-being and discussing the importance of taking care of one's mental health. Openness about these topics has grown in recent years, including a 2022 panel discussion around hip-hop and mental health, co-hosted by the GRAMMY Museum, the Recording Academy's Black Music Collective, and MusicCares in partnership with the Universal Hip-Hop Museum. 

"Artists are in a fight-or-flight mode when it comes to being in this game," said Eric Brooks, former VP of Marketing & Promotions at Priority Records who worked with NWA and Dr. Dre. "And there need to be strategies on how to deal with the inner battles that only happen in the mind and body."  

The panel only scratched the surface of the many times hip-hop culture has illuminated critical mental health issues that often remain hidden or under-discussed in the music industry. In recognition of Mental Health Awareness Month, read on for 10 times hip-hop has shone a light on mental health. 

J. Cole Apologized To Kendrick Lamar

A long-simmering beef between Drake and Kendrick Lamar was reignited in March 2024 when Metro Boomin' and Future released "Like That." The track featured a scathing verse from Kendrick, where he took aim at  Drake and J. Cole, and referenced the pair's collaborative song "First Person Shooter." 

The single begged for a response, and J. Cole, under what was presumably a significant amount of pressure, surprise-released his Might Delete Later. The album featured "7 Minute Drill," in which Cole calls Kendrick's To Pimp, A Butterfly boring. 

But the same week Cole's album came out, he apologized to Kendrick onstage at his Dreamville Fest, saying it didn't sit right with his spirit and that he "felt terrible" since it was released. Cole added that the song didn’t sit right with him spiritually and he was unable to sleep. Cole subsequently removed "7 Minute Drill" from streaming services. 

Strong debate followed about whether or not Cole should have removed the song. However, many heralded Cole’s maturity in the decision and said it was an important example of not doing things that don’t align with one's true emotions, and avoiding allowing others expectations of you weight down your own physical and mental health.

SiR Spoke Candidly About Depression & Sobriety

Although an R&B artist, TDE singer SiR is hip-hop adjacent, having collaborated with former labelmate Kendrick Lamar on tracks like "D'Evils" and "Hair Down." SiR recently spoke with GRAMMY.com about the troubles that followed him after the release of his 2019 album Chasing Summer.

"I was a full-blown addict, and it started from a string of depression [and] relationship issues and issues at home that I wasn't dealing with," SiR says. After the Los Angeles-based singer had hit rock bottom, he found the spark he needed to do something about it. His initial rehab stint was the first step on the road to change.  

"I was there for 21 days [in 2021]. [The] second time, I was there for two months and the third time wasn't technically rehab…I did personal therapy, and, man, [that] did wonders," he recalls. 

SiR also tackled the stigma many Black communities place on therapy and seeking help for mental health issues. "I would've never done something like that if I was in any other position, so I'm thankful for my issues because they led me to a lot of self-reflection and forgiveness," SiR says.

Big Sean Educated His Audience About Anxiety & Depression 

One of the biggest challenges in addressing anxiety and depression is the feeling that those issues must be kept under wraps.  In 2021, Big Sean and his mother released a series of videos in conjunction with Mental Health Awareness Month, in which the GRAMMY nominee opened up about his battles with depression and anxiety. 

In one of those videos, Sean and his mother discussed  the importance of sleep and circadian rhythms when managing depression and mental health issues. In an industry that prioritizes the grind, the hip-hop community often overlooks sleep — much to its detriment.

"Sleep is the most overlooked, disrespected aspect of our well-being," said Myra Anderson, Executive Director & President of the Sean Anderson Foundation and Big Sean's mother. "Even one day without good sleep can mess up your hormones severely." 

As a busy recording artist, Sean concurs that, for him, a lack of sleep contributes to challenges with anxiety. “If I’m not in the right mindset, I don’t get the right sleep,” says Sean in the mental health video series. “Then that anxiety rides high, and my thoughts are racing. I’m somebody that lives in my head.”

G.Herbo's "PTSD" Addressed The Impact Of Street Violence

Eastside Chicago's G. Herbo is an artist vital to the city's drill music scene. On "PTSD," the title track of his 2020 album, Herbo raps about his struggles coping with violence and loss. 

"I can't sleep 'cause it's a war zone in my head / My killers good, they know I'm hands-on with the bread / A million dollars ahead, I'm still angry and seeing red / How the f*ck I'm 'posed to have fun? All my n— dead."  

The lyrics echoed the realities of what G. Herbo grew up seeing in O-Block, considered by many to be one of the most dangerous neighborhoods in Chicago. But it wasn't just a song title; G. Herbo was diagnosed with PTSD in 2019 and began therapy to manage it, showing that even rap's most hardened have opened themselves up to professional help. 

"I'm so glad that I did go to therapy," G. Herbo told GRAMMY.com in July 2020. "I'm glad that I did take that leap of faith to just go talk to somebody about my situation and just my thoughts and get 'em to a person with an unbiased opinion." 

Joe Budden Opens Up About His Darkest Times 

In 2017, on the "Grass Routes Podcast," rapper-turned-podcaster Joe Budden opened up about multiple suicide attempts and his lifelong battle with depression. 

"For me, there have been times where I've actually attempted suicide," Budden shared. "As open as I've been when it comes to mental health, it wasn't until retirement from rapping that I was able to dive into some of the things the fans have seen." 

Never one to shy away from rapping about his mental health struggles, Budden songs like "Whatever It Takes" peel back the layers on an artist fighting his demons: "See, I'm depressed lately, but nobody understands / That I'm depressed lately, I'm sorta feelin repressed lately." 

Budden continued to be a champion for mental health that year, including on his former Complex show "Everyday Struggle," where Budden broke down while discussing the suicide death of fellow rapper Styles P's daughter. 

In recent years, Budden has uses his wildly popular "The Joe Budden Podcast" as a tool to discuss his own struggles and raise awareness of mental health issues. 

Grandmaster Flash & The Furious Five Broadcast A Serious "Message"

Hip-hop culture has long used rap as a tool to highlight mental health and the everyday struggles of its community. Released in 1982, Grandmaster Flash and The Furious Five's "The Message" is an early, effective example of vulnerability in hip-hop.

"The Message" described the mental health impacts of poverty and inner-city struggle, describing desperate feelings and calling for support in underserved communities: "I can't take the smell, can't take the noise / Got no money to move out, I guess I got no choice." Perhaps the most recognizable lyric comes from Melle Mel, who raps, "Don't push me cause I'm close to the edge/I'm trying not to lose my head." 

Eminem Got Honest About Depression While In Rehab

On "Reaching Out," Queen and Paul Rodgers sing "Lately I've been hard to reach / I've been too long on my own / everybody has a private world where they can be alone." These lyrics were sampled on the intro to Eminem's 2009 single "Beautiful," a raw tale of the rapper's struggles with depression. Half of the song was written while Eminem was in rehab, including lyrics like "I'm just so f—king depressed/I just can't seem to get out this slump." 

The lyrics pierced the core of Eminem's audience, who were able to see the parallels between the struggles of a rap superstar and their own issues. The song reached the Top 20 of the Billboard Hot 100 and was nominated for a Best Rap Solo Performance GRAMMY Award. In an interview with MTV about the song, Eminem said it was an important outlet for him at a challenging time. 

But it was far from the first time Eminem has discussed mental health. One of the earliest examples was in his song "Stan," where Eminem rapped from the perspective of an obsessed fan who ended up killing himself and his wife after Eminem failed to respond to his fan mail. In a 2000 interview, Eminem told MTV that he wrote the song to warn fans not to take his lyrics literally. 

Logic Sparked Change With A Number

One of the most impactful moments hip-hop has seen regarding mental health and sparking change was when Logic released his song "1-800-273-8255" in 2017. The record, named after the real National Suicide Lifeline Prevention phone number, which is now 988, hit the top three on the US Billboard Hot 100.

Following the song's release, the British Medical Journal released a study sharing data that showed the song contributed to a 27 percent increase in calls to the prevention hotline that year and may have even contributed to an actual reduction in deaths by suicide. 

Logic's single further proved that rap music's impact extends well beyond charts and sales. "1-800-273-8255" highlighted the connection artists have with their fans, as well as the ways music can be a tool to cope with challenges like mental health and suicidal thoughts. 

Kid Cudi Opened Up About Suicidal Urges 

Cleveland's own Kid Cudi has never shied away from putting his emotions on record, rapping vividly throughout his career about his struggles with mental health. Cudi records, like the hit single "Pursuit of Happiness," are brutally honest about trying to find happiness in a world filled with trials and tribulations. 

In a 2022 interview with Esquire, Cudi recalled checking himself into rehab in 2016 for depression and suicidal urges. He had been using drugs to manage the weight of his stardom and even suffered a stroke while in rehab. "Everything was f—ed," Cudi said. 

Cudi took a break to develop stability, returning to the spotlight with the 2018 project Kids See Ghosts in collaboration with Kanye West.. Today, Cudi and his music remain pillars of strength for those facing similar challenges.   

Jay-Z Detailed The Importance Of Therapy & Getting Out Of "Survival Mode"

In 2017, Jay-Z released his critically acclaimed thirteenth studio album. 4:44 was packed with lessons on family, mental health, and personal growth.

An interview with the New York Times, Jay-Z discussed how helpful therapy had been to him. Therapy helped the rap superstar in his interactions with other people — something that had been hardened growing up as a black man in Marcy Projects. "I grew so much from the experience," he told the Times.

"I think the most important thing I got is that everything is connected. Every emotion is connected, and it comes from somewhere. I understand that, instead of reacting to that with anger, I can provide a softer landing and maybe, 'Aw, man, is you O.K.? You're in this space where you're hurting, and you think I see you, so you don't want me to look at you. And you don't want me to see you,'" he said. "You don't want me to see your pain."

The album also unpacked Jay-Z's infidelity. "I'll f— up a good thing if you let me," he raps on "Family Feud." In the same interview, Jay-Z shared that growing up in the hood put him into "survival mode," impacting his abilities to be a good partner and husband earlier in life. 

"You shut down all emotions. So even with women, you gonna shut down emotionally, so you can't connect," he reflected. "In my case, like it's, it's deep. And then all the things happen from there: infidelity." 

"I Made My ADHD Into My Strength": Understanding The Link Between Rap & Neurodivergence

Eminem
Eminem

Photo: Sal Idriss/Redferns/GettyImages

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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.

GRAMMYs/Feb 23, 2024 - 03:44 pm

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

Ray Parker Jr performing "Ghostbusters" in 2019
Ray Parker Jr performs "Ghostbusters" for Freeform's "31 Nights of Halloween Fan Fest" in 2019.

Photo: Image Group LA via Getty Images

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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."

GRAMMYs/Oct 31, 2023 - 12:56 pm

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.  

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