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GRAMMY Rewind: Watch Eminem Show Love To Detroit And Rihanna During His Best Rap Album Win In 2011
To celebrate the 50th anniversary of hip-hop, relive the moment Eminem took home a Best Rap Album gramophone for his iconic album, 'Recovery.'
Despite being at the top of the rap game, Eminem's personal life has been far from steady. In 2009, the Detroit native exposed his struggle with addiction (and an eventual stint in rehab) on his LP, Relapse. One year later, he dropped one of the most iconic albums of his career, Recovery, which is lauded for its vulnerability and accountability — and became a prime influence to the current generation of introspective rappers, including hit-makers like Machine Gun Kelly and NF.
In honor of hip-hop's 50th anniversary, revisit the evening Eminem won Best Rap Album for Recovery at the 2011 GRAMMYs. It marked his second win in a row in the category, as Relapse had won the year prior.
"Okay, this is crazy," Eminem said as he took the stage. After thanking all of those involved with the album, he gave a special shout-out to his "Love The Way You Lie" collaborator. "I want to thank Rihanna, too, for helping propel the album to where it's at right now."
Eminem went on to thank Interscope Records, Dr. Dre, his Aftermath Entertainment family, and his fans. Last but not least, Eminem had to give a shout out to his hometown: "What up, Detroit! Stand up!" he cheered.
To date, Eminem has won 15 GRAMMYs, six of which were for Best Rap Album. And though he and Rihanna didn't win any GRAMMYs together for their first collaboration
Photo: Matt Winkelmeyer/Getty Images
GRAMMY Rewind: Watch Baby Keem Celebrate "Family Ties" During Best Rap Performance Win In 2022
Revisit the moment budding rapper Baby Keem won his first-ever gramophone for Best Rap Performance at the 2022 GRAMMY Awards for his Kendrick Lamar collab "Family Ties."
For Baby Keem and Kendrick Lamar, The Melodic Blue was a family affair. The two cousins collaborated on three tracks from Keem's 2021 debut LP, "Range Brothers," "Vent," and "Family Ties." And in 2022, the latter helped the pair celebrate a GRAMMY victory.
"Wow, nothing could prepare me for this moment," Baby Keem said at the start of his speech.
He began listing praise for his "supporting system," including his family and "the women that raised me and shaped me to become the man I am."
Before heading off the stage, he acknowledged his team, who "helped shape everything we have going on behind the scenes," including Lamar. "Thank you everybody. This is a dream."
Press play on the video above to watch Baby Keem's complete acceptance speech for Best Rap Performance at the 2022 GRAMMYs, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.
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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.
Photo: Clarence Davis/NY Daily News Archive via Getty Images
How 1994 Changed The Game For Hip-Hop
With debuts from major artists including Biggie and Outkast, to the apex of boom bap, the dominance of multi-producer albums, and the arrival of the South as an epicenter of hip-hop, 1994 was one of the most important years in the culture's history.
While significant attention was devoted to the celebration of hip-hop in 2023 — an acknowledgement of what is widely acknowledged as its 50th anniversary — another important anniversary in hip-hop is happening this year as well. Specifically, it’s been 30 years since 1994, when a new generation entered the music industry and set the genre on a course that in many ways continues until today.
There are many ways to look at 1994: lists of great albums (here’s a top 50 to get you started); a look back at what fans and tastemakers were actually listening to at the time; the best overlooked obscurities. But the best way to really understand why a single 365 three decades ago had such an impact is to narrow our focus to look at the important debut albums released that year.
An artist’s or group’s debut is their entry into the wider musical conversation, their first full statement about who they are and where in the landscape they see themselves. The debuts released in 1994 — which include the Notorious B.I.G.'s Ready to Die, Nas' Illmatic and Southernplayalisticadillacmuzik from Outkast — were notable not only in their own right, but because of the insight they give us into wider trends in rap.
Read on for some of the ways that 1994's debut records demonstrated what was happening in rap at the time, and showed us the way forward.
Hip-Hop Became More Than Just An East & West Coast Thing
The debut albums that moved rap music in 1994 were geographically varied, which was important for a music scene that was still, from a national perspective, largely tied to the media centers at the coasts. Yes, there were New York artists (Biggie and Nas most notably, as well as O.C., Jeru the Damaja, the Beatnuts, and Keith Murray). The West Coast G-funk domination, which began in late 1992 with Dr. Dre’s The Chronic, continued with Dre’s step brother Warren G.
But the huge number of important debuts from other places around the country in 1994 showed that rap music had developed mature scenes in multiple cities — scenes that fans from around the country were starting to pay significant attention to.
To begin with, there was Houston. The Geto Boys were arguably the first artists from the city to gain national attention (and controversy) several years prior. By 1994, the city’s scene had expanded enough to allow a variety of notable debuts, of wildly different styles, to make their way into the marketplace.
The Rap-A-Lot label that first brought the Geto Boys to the world’s attention branched out with Big Mike’s Somethin’ Serious and the Odd Squad’s Fadanuf Fa Erybody!! Both had bluesy, soulful sounds that were quickly becoming the label’s trademark — in no small part due to their main producers, N.O. Joe and Mike Dean. In addition, an entirely separate style centered around the slowed-down mixes of DJ Screw began to expand outside of the South Side with the debut release by Screwed Up Click member E.S.G.
There were also notable debut albums by artists and groups from Cleveland (Bone Thugs-N-Harmony, Creepin on ah Come Up), Oakland (Saafir and Casual), and of course Atlanta — more about that last one later.
1994 Saw The Pinnacle Of Boom-Bap
Popularized by KRS-One’s 1993 album Return of the Boom Bap, the term "boom bap" started as an onomatopoeic way of referring to the sound of a standard rap drum pattern — the "boom" of a kick drum on the downbeat, followed by the "bap" of a snare on the backbeat.
The style that would grow to be associated with that name (though it was not much-used at the time) was at its apex in 1994. A handful of primarily East Coast producers and groups were beginning a new sonic conversation, using innovations like filtered bass lines while competing to see who could flip the now standard sample sources in ever-more creative ways.
Most of the producers at the height of this style — DJ Premier, Buckwild, RZA, Large Professor, Pete Rock and the Beatnuts, to name a few — worked on notable debuts that year. Premier produced all of Jeru the Damaja’s The Sun Rises in the East. Buckwild helmed nearly the entirety of O.C.’s debut Word…Life. RZA was responsible for Method Man’s Tical. The Beatnuts took care of their own full-length Street Level. Easy Mo Bee and Premier both played a part in Biggie’s Ready to Die. And then there was Illmatic, which featured a veritable who’s who of production elites: Premier, L.E.S., Large Professor, Pete Rock, and Q-Tip.
The work the producers did on these records was some of the best of their respective careers. Even now, putting on tracks like O.C.’s "Time’s Up" (Buckwild), Jeru’s "Come Clean" (Premier), Meth’s "Bring the Pain" (RZA), Biggie’s "The What" (Easy Mo Bee), or Nas’ "The World Is Yours" (Pete Rock) will get heads nodding.
Major Releases Balanced Street Sounds & Commercial Appeal
"Rap is not pop/If you call it that, then stop," spit Q-Tip on 1991’s "Check the Rhime." Two years later, De La Soul were adamant that "It might blow up, but it won’t go pop." In 1994, the division between rap and pop — under attack at least since Biz Markie made something for the radio back in the ‘80s — began to collapse entirely thanks to the team of the Notorious B.I.G. and his label head and producer Sean "Puffy" Combs.
Biggie was the hardcore rhymer who wanted to impress his peers while spitting about "Party & Bulls—." Puff was the businessman who wanted his artist to sell millions and be on the radio. The result of their yin-and-yang was Ready to Die, an album that perfectly balanced these ambitions.
This template — hardcore songs like "Machine Gun Funk" for the die-hards, sing-a-longs like "Juicy" for the newly curious — is one that Big’s good friend Jay-Z would employ while climbing to his current iconic status.
Solo Stars Broke Out Of Crews
One major thing that happened in 1994 is that new artists were created not out of whole cloth, but out of existing rap crews. Warren G exploded into stardom with his debut Regulate… G Funk Era. He came out of the Death Row Records axis — he was Dre’s stepbrother, and had been in a group with a pre-fame Snoop Dogg. Across the country, Method Man sprang out of the Wu-Tang collective and within a year had his own hit single with "I’ll Be There For You/You’re All I Need To Get By."
Anyone who listened to the Odd Squad’s album could tell that there was a group member bound for solo success: Devin the Dude. Keith Murray popped out of the Def Squad. Casual came out of the Bay Area’s Hieroglyphics.
This would be the model for years to come: Create a group of artists and attempt, one by one, to break them out as stars. You could see it in Roc-a-fella, Ruff Ryders, and countless other crews towards the end of the ‘90s and the beginning of the new millennium.
Multi-Producer Albums Began To Dominate
Illmatic was not the first rap album to feature multiple prominent producers. However, it quickly became the most influential. The album’s near-universal critical acclaim — it earned a perfect five-mic score in The Source — meant that its strategy of gathering all of the top production talent together for one album would quickly become the standard.
Within less than a decade, the production credits on major rap albums would begin to look nearly identical: names like the Neptunes, Timbaland, Premier, Kanye West, and the Trackmasters would pop up on album after album. By the time Jay-Z said he’d get you "bling like the Neptunes sound," it became de rigueur to have a Neptunes beat on your album, and to fill out the rest of the tracklist with other big names (and perhaps a few lesser-known ones to save money).
The South Got Something To Say
If there’s one city that can safely be said to be the center of rap music for the past decade or so, it’s Atlanta. While the ATL has had rappers of note since Shy-D and Raheem the Dream, it was a group that debuted in 1994 that really set the stage for the city’s takeover.
Outkast’s Southernplayalisticadillacmuzik was the work of two young, ambitious teenagers, along with the production collective Organized Noize. The group’s first video was directed by none other than Puffy. Biggie fell so in love with the city that he toyed with moving there.
Outkast's debut album won Best New Artist and Best New Rap of the Year at the 1995 Source Awards, though the duo of André 3000 and Big Boi walked on stage to accept their award to a chorus of boos. The disrespect only pushed André to affirm the South's place on the rap map, famously telling the audience, "The South got something to say."
Outkast’s success meant that they kept on making innovative albums for several more years, as did other members of their Dungeon Family crew. This brought energy and attention to the city, as did the success of Jermain Dupri’s So So Def label. Then came the "snap" movement of the 2000s, and of course trap music, which had its roots in aughts-era Atlanta artists like T.I. and producers like Shawty Redd and DJ Toomp.
But in the 2010s a new artist would make Atlanta explode, and he traced his lineage straight back to the Dungeon. Future is the first cousin of Organized Noize member Rico Wade, and was part of the so-called "second generation" of the Dungeon Family back when he went by "Meathead." His world-beating success over the past decade-plus has been a cornerstone in Atlanta’s rise to the top of the rap world. Young Thug, who has cited Future as an influence, has sparked a veritable ecosystem of sound-alikes and proteges, some of whom have themselves gone on to be major artists.
Atlanta’s reign at the top of the rap world, some theorize, may finally be coming to an end, at least in part because of police pressure. But the city has had a decade-plus run as the de facto capital of rap, and that’s thanks in no small part to Outkast.
Photo: Michael Kovac/Getty Images for The Recording Academy
GRAMMY Rewind: Watch Beyoncé's Heartfelt Speech For Her Record-Breaking Win In 2023
Relive the night Beyoncé received a gramophone for Best Dance/Electronic Album for 'RENAISSANCE' at the 2023 GRAMMYS — the award that made her the most decorated musician in GRAMMY history.
Six years after her last solo studio album, Beyoncé returned to the music industry with a bang thanks to RENAISSANCE. In homage to her late Uncle Johnny, she created a work of art inspired by the sounds of disco and house that wasn't just culturally impactful — it was history-making.
At the 2023 GRAMMYs, RENAISSANCE won Best Dance/Electronic Album. Marking Beyoncé's 32nd golden gramophone, the win gave the superstar the record for most gramophones won by an individual act.
In this episode of GRAMMY Rewind, revisit the historic moment Queen Bey took the stage to accept her record-breaking GRAMMY at the 65th Annual GRAMMY Awards.
"Thank you so much. I'm trying not to be too emotional," Beyoncé said at the start of her acceptance speech. "I'm just trying to receive this night."
With a deep breath, she began to list her praises that included God, her family, and the Recording Academy for their continued support throughout her career.
"I'd like to thank my Uncle Johnny, who is not here, but he's here in spirit," Beyoncé proclaimed. "I'd like to thank the queer community for your love and inventing this genre."
Watch the video above for Beyoncé's full speech for Best Dance/Electronic Album at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind.
Tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).