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From horrorcore fantasies to soul-searching nightmares, here are the greatest moments from the Detroit rappers tumultuous career

30. Rap God (2013)

Eminem illustrates all the cadences he has mastered over the years, channelling flows from influences such as Tech N9ne and Big Pun like an exorcist summoning spirits, and moving through an impressive 1,560 words in just six minutes. Some critics have dismissed this as empty rappity rap, but the fact a 41-year-old still cared this much about his craft deserves our respect.

29. Same Song & Dance (2009)

Although Marshall Mathers has repeatedly trashed 2009s Relapse in interviews, the record, which is a nightmarish ode to horrorcore rap, has aged well particularly this dread-inducing tale of a stalker who lynches Lindsay Lohan. Critics hated the creepy accent, which sounds like the bastard child of Borat and the Simpsons Groundskeeper Willie, but by embodying such a ludicrous pastiche of a serial killer, Em enjoyed a much-needed dose of escapism at a time where his private life was starting to unravel.

28. The Ringer (2018)

Just like Jay-Zs similarly misguided DOA (Death of Autotune), The Ringer is a track from a veteran unhappy with the direction rap is headed. Mocking the supposed cliches of mumble rap, Em is essentially an angry old man shouting at a (Sound)cloud. But after years of disappointing albums plagued with turgid stadium pop, it was just exciting to hear Eminem sound so fired up again he makes for a very convincing Victor Meldrew.

27. Dont Front (2013)

On this overlooked B-side, Eminem tears through the thunderous boom-bap of Black Moons classic street-corner drama, I Got Cha Opin. This is that rare museum exhibit that doesnt bore you to tears, with Em giving his fans a nostalgic serotonin boost after a duo of truly awful albums: Recovery, and The Marshall Mathers LP 2.

26. Its OK (1996)

Much of Eminems forgotten 1996 debut, Infinite, is spent trying to imitate the multi-syllabic flow of Kool G Rap over beats that sound like cheap rip-offs from Nass Illmatic. But the playful nocturnal funk of Its OK, which is littered with enthusiastic ad-libs from best friend Proof, results in the records most inspired rapping, as an introspective Em uncharacteristically discusses finding God.

25. Till I Collapse (2002)

This shot of cathartic rage is still wildly inspiring, even if its appearance on every video game trailer sponsored by Mountain Dew might have diluted its impact a little. It was also fun to hear Nate Dogg sounding so emo and getting a chance to croon about something other than being a horny stoner.

24. Stay Wide Awake (2009)

With synths that appear to scream out in pain, this is one of Dr Dres weirdest concoctions. The songwriting may be the byproduct of a recluse spending his days writing raps amid Jeffrey Dahmer YouTube documentary binges, but Eminem mostly succeeds in trying to replicate the unhinged tone of The Texas Chainsaw Massacre, and thats impressive. Tyler, the Creator said this had the best flow ever.

23. Drug Ballad (2000)

On Drug Ballad, Eminem is high as a kite, resiliently throwing jabs from beyond the clouds and refusing to come back down. The funky thrusts of bass replicate the energy of a horny, if incredibly tacky, spring-break party in the nu-metal era. Its a window into a simpler, trashier time, where sniffing glue while playing with a Rubiks Cube was somehow considered an attractive personality trait.

22. Brain Damage (1999)

Turning his childhood traumas into whimsical entertainment, Eminem transitions from being bullied into being the bully, and his nutty turn of phrase and dark recollections of a Detroit high school where even the principal joins in with the beatings are frequently hilarious. Few artists can find light in such a dark setting and this song, released just a few months before the Columbine massacre, presciently hints at American schools dangerously abandoning their outcasts.

Eminem in concert in 2001. Photograph: Nicky J Sims/Redferns

21. Role Model (1999)

With jokes about the alleged OJ murders and Lauryn Hills mythical hatred of white men, this is Eminem starting to realise his power as a cultural provocateur. The fact he bluntly erases his predecessor (I saw Vanilla Ice and ripped out his blonde dreads) also feels significant, with the Detroit native reshaping the idea of the ascendant white rapper.

20. Without Me (2002)

With a mischievous beat that sounds as if it was crafted by Dr Dre rhythmically squeezing a bunch of clowns noses, this is a continuation of the silly pop theatrics of The Real Slim Shady and My Name Is. When Eminem claimed rap would be empty without him around, it was hard to disagree.

19. Cleanin Out My Closet (2002)

A bit like watching a white trash family drama unravel on the Jerry Springer show, this intensely autobiographical song works because Eminem isnt afraid to operate from a place of weakness. Em also shares his mission statement as an artist, rapping: Give em hell for as long as Im breathing.

18. Scary Movies (1999)

Eminem has always made an artform out of killing people and his absurdist pledge to Throw you down a flight of stairs / Then Ill throw you back up them is undeniably hilarious. Scary Movies is a reminder of a time when Em wasnt just a great rapper, but a great comedian, too.

17. The Way I Am (2000)

As good as The Slim Shady LP was, it was a bit too heavy on dick jokes, and this highlight from its follow-up showcases clearer artistic growth. A haunting meditation on fame, its a paranoid, inward-looking tale of being so famous that you get followed to the bathroom.

16. Hellbound (2000)

Rapping over regal music from beat-em-up game Soulcalibur, Ems promise to fuck the planet until it spins on a broken axis projects a larger-than-life confidence. Eminem slashes through the beat like a katana sword, writing the hyper-animated blueprint that Kendrick Lamar and Nicki Minaj would later follow.

15. Jay-Z Renegade (feat Eminem) (2001)

Originally an Eminem collaboration with frenemy Royce Da 59, Ems potent critique of middle America proves he was one step ahead of his broadsheet critics. He is operating at the height of his powers, with verses so vivid that Nas even taunted Jay-Z with the barb: And Eminem murdered you on your own shit.

14. If I Had (1999)

Em has rarely sounded this dejected, with the artist wondering what he must sacrifice in order to make a million dollars. When he would rap about his personal life later on in his career there was too much syrupy sentimentality and self-pity, but here (where he recalls earning $5.55 an hour) Eminem has never sounded so relatable.

13. Superman (2002)

The kind of song that might get an artist cancelled today, Superman is a twisted take on the love bops Nelly and Ja Rule were routinely pumping out. Endlessly catchy, its the closest Em has come to a club banger, and his problematic Lothario dazzles rather than disgusts because he dares you to take him seriously.

12. Im Back (2000)

Not all of Dres beats on the Marshall Mathers LP have aged that well, but Im Back remains truly compelling theme music for a comic-book villain. Eminem fans the flames by threatening to murder Columbine bullies; at this point, he genuinely felt like pop cultures most provocative son.

11. Guilty Conscience (1999)

Playing into media claims that rap music was leading young people astray, rarely has a mainstream rap single been so conceptual, as Em and Dre play the two conflicting sides of the male conscience. Em tells Dre who assaulted TV host Dee Barnes in 1991 hes in no position to lecture someone else on how to treat a woman. Its still bold.

10. Deja Vu (2009)

This is a three-dimensional account of what its like to be a person with the kind of privilege that might fuel a drug addiction. Em recounts being in an ambulance after an overdose, but the fact he does so while joking about his fears of suffering a cliched death like Elvis makes for an endearing listen.

9. White America (2002)

Aware that he was every parents worst nightmare, Eminem dissects his cultural influence with real precision. Screaming his vocals from the very back of his throat, he also grapples with his white privilege, acknowledging: If I was black, I wouldve sold half. White America showed rappers they could be rock stars, too punk rappers such as Slowthai and Denzel Curry will have learned a lot from this.

8. Remember Me? (2000)

Designed to be blasted out of a car in a dingy alleyway at 1am, this abrasive shot of horrorcore is as raw as an exposed nerve ending. Each verse is more unhinged than the last, with Eminem fully embracing his growing mythology as raps angry blonde.

7. My Name Is (1999)

You couldnt make these kind of jokes today, but back in 1999, this subversive doozy really felt like Slim Shady was breaking through MTVs glass ceiling. Em played the role of pop cultures Dennis the Menace ever so well, mocking the misguided idea that rappers should be considered role models over a catchy Labi Siffre sample.

6. Square Dance (2002)

Eminem is too self-aware to create truly transcendent moments, but this experimental banger is the closest he ever got to crafting one. Tapping into post-9/11 paranoia, Em plays the role of the demented ringmaster, bringing you into his garish circus with aplomb. It is basically the rap version of Being For the Benefit of Mr Kite!

Eminem in 8 Mile, the film featuring Lose Yourself. Photograph: Sportsphoto Ltd/Allstar

5. Lose Yourself (2002)

This is the Rocky theme song reimagined for millennials, with Eminem at his most inspirational while forcing you to empathise with the plight of the working class. Its rare that a whole generation knows the lyrics to a rap song, but Lose Yourself is more than worthy of that honour (even if Marty disagrees).

4. Kim (2000)

Arguably the darkest song to ever appear on a diamond-selling album, the murderous chaos of Kim powerfully reflects a misguided lovesick rage. Em switches between male and female voices with an unsettling schizophrenic power, with the bittersweet chorus also strangely enchanting. This broke new ground for storytelling rap, and made your mum lock away your copy of The Marshall Mathers LP in a safe, for ever.

3. Dr Dre Forgot About Dre (feat Eminem) (1999)

This track perfected the juxtaposition between Dr Dre as the world-weary OG and Eminem as his deranged apprentice. Rapping like a cartoon rottweiler, Em chomps his way through the beat in a way that is linguistically dizzying. As far as perfect producer and rapper dynamics go, this remains the one to beat.

2. The Real Slim Shady (2000)

If MTV had become a little safe and too draped in shiny suits by 2000, this was Eminem attempting to liberate it from its excesses and give pop cultures trashier icons (Will Smith, Fred Durst) a much-needed spanking. This was a single so big that it opened up hip-hop to the suburbs and made millions of white teenagers dye their hair blond.

1. Stan (2000)

Six-minute epics about crazy fans who drown their pregnant girlfriends dont usually top the pop charts, but Stans storytelling was so vivid and claustrophobic that it grabbed you by the neck and forced you to get into the back of that car. This shifted the pop paradigm completely and gave a face (and name) to the kind of toxic fan culture that would later multiply with the explosion of social media. As far as rap storytelling goes, it is unlikely Stan will ever be bettered. This is Eminems Stairway to Heaven, and the fact he could even make Dido sound bearable is testament to just how good he used to be.

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Brad Pitt got political, the Cats cast got their claws out and Eminems appearance left everyone confused

Joaquin Phoenix went full vegan

After Phoenixs speech at the Baftas, in which he said that it was incumbent on the dominant culture to increase representation of minorities in the film industry, many were expecting something on a similar theme. But his Oscars speech went much further. Beginning with the uncontroversial view that people like him should use our voice for the voiceless, Phoenix went on to say that humans disconnection from the natural world makes us feel entitled to artificially inseminate a cow and steal her baby, even though her cries of anguish are unmistakable. Then we take her milk thats intended for her calf and we put it in our coffee and our cereal. It must be one of the most high-profile avowals of veganism there has ever been.

Bong Joon-ho ruled the night

The South Korean director ran an Oscars campaign based on gently poking voters about their US-centric worldview. The Oscars are not an international film festival, he ribbed at one point. Theyre very local. His other tactic was a full-on charm offensive, with his interpreter Sharon Choi becoming a star in her own right as she helped Bong navigate the late-night talkshow circuit. On Oscars night, his fanbase the Bong Hive were busy on Twitter and the man himself roused the audience with his tribute to Americas finest: When I was young and starting in cinema there was a saying that I carved deep into my heart which is, The most personal is the most creative. That quote was from our great Martin Scorsese.

Parasite, which has taken $40m at the US box office could be a bellwether for a more-outward looking Academy although this is the same voting body that picked Green Book last year, so its anyones guess what will happen in 12 months time.

James Corden and Rebel Wilson put the boot into Cats

The pair awarded the prize for best special effects dressed in Cats costumes and announcing: As cast members of the motion picture Cats, nobody more than us understands the importance of good visual effects. It got a big laugh although probably not in the home of Tom Hooper, the films director.

The In Memoriam section still cant get it right

There was no mention of Cameron Boyce, the Disney star who died aged 20 after suffering a seizure due to epilepsy in June and who played one of Adam Sandlers sons in the film Grown Ups. Luke Perry was another notable omission. The former star of Beverly Hills 90210 died in March aged 52, and even appeared in one of the nights nominated films, Once Upon a Time In Hollywood.

Eminems surprise guest slot was baffling

As if to confirm that the numbers up for best original song werent up to much this year, Eminem appeared for no apparent reason and blasted through Lose Yourself, his Oscar-winning song from 8 Mile back in 2003. He hadnt performed it, or even turned up, that year but this time he performed the tune sporting an alarming black beard as the audience nodded their heads with the exception of Scorsese, who merely seemed to be nodding off.


Martin Scorsese reacts to Eminem’s “Lose Yourself” performance #Oscars

February 10, 2020

Taika Waititi has broken new ground

First of all, hes the first Mori film-maker to win an Oscar a fact he nodded to when he dedicated his awards to all the indigenous kids all over the world who want to do art and dance and write stories we are the original storytellers and we can make it here as well. Second, he gave the first land acknowledgment speech the ceremony has ever seen, saying: The Academy would like to acknowledge that tonight we have gathered on the ancestral lands of the Tongva, the Tataviam and the Chumash. We acknowledge them as the first peoples of this land on which the motion pictures community lives and works.

cherrywaves (@heather28df)

Yes @TaikaWaititi!!!! #Oscars2020

February 10, 2020

Chris Rock is in no doubt on the question of Ford v Ferrari

Ive got both and it aint even close, said the comic at the top of the awards. Its like Halle Berry versus gum disease.

Brad Pitt can do politics

He has been acclaimed all awards season for his witty and charming speeches, but Pitt added some political bite at the Oscars with a nod to the thwarted impeachment of Trump. They told me I only have 45 seconds up here, he said. Which is 45 seconds more than the Senate gave John Bolton this week.

Billie Eilish made everyone feel old

When asked on the red carpet about the films shed grown up with, Eilish mentioned The Babadook released in 2014. And when Eminem came out to perform a song released when she wasnt even a year old, she could not have looked more bemused.

Lights, Camera, Pod (@LightsCameraPod)

What a reaction to Eminem from Billie Eilish. #Oscars

February 10, 2020

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Do you recognize these celebrities? Do you notice anything different? If not, we suggest that you take a closer look, because each photo features not one but two or even four celebrities masterfully mixed together! A 25-year-old French student has recently become an Instagram sensation after he shared his amazing creations – morphs of famous faces.

#1 Brad Pitt & Leonardo Dicaprio


#2 Billie Eilish & Cara Delevingne


The artist, who goes by the Instagram name of Morphy_me, has spent hours painstakingly morphing celebrity faces from different spheres such as music, film, sport, royalty and much more. These creations take a lot of time as he carefully studies each face to bring out the most beautiful features of it. Not to mention the whole creation process! With a lot of patience and attention to detail, he makes a new face of a ‘perfect’ celebrity.

#3 Blake Lively & Ryan Reynolds


#4 Kristen Stewart & Megan Fox


From the combination of probably two of the most beautiful and hottest Hollywood actors Brad Pitt and Leonardo Di Caprio to the mesmerizing beauty of two classy iconic stars, actress and model Megan Fox and singer, songwriter Lana Del Rey, he has an eye for captivating beauty.

#5 Dua Lipa & Gal Gadot


#6 Chris Pratt & Michael Fassbender


Currently, Morphy_me has 55.1k followers on his Instagram and some of these followers are famous Hollywood celebrities themselves. He was noticed by Lily Collins, Gigi Hadid, Mark Hamill, Doutzen Kroes, Lily Aldridge and even followed by Sophie Turner and Joe Jonas. It’s just too crazy!

#7 Jason Momoa & Chris Hemsworth


#8 Nina Dobrev & Megan Fox


#9 Natalie Portman & Millie Bobby Brown


#10 Lady Gaga & Scarlett Johansson


#11 Rami Malek & Bruno Mars


#12 Henry Cavill & Christopher Reeve


#13 Jason Momoa & Chris Hemsworth


#14 Chris Evans & Chris Pratt & Chris Hemsworth & Chris Pine


#15 Gal Gadot & Emma Watson


#16 Lana Del Rey & Megan Fox


#17 Zendaya & Zoe Kravitz


#18 Megan Fox & Bella Hadid


#19 Kendall Jenner & Taylor Hill


#20 Eminem & Tom Hardy


#21 Anne Hathaway & Audrey Hepburn


#22 Emilia Clarke & Carice Van Houten


#23 Amber Heard & Barbara Palvin


#24 Antoine Griezmann & Leo Messi


#25 Tom Holland & Tom Hardy & Tom Hiddleston


#26 Kiernan Shipka & Emma Watson


#27 Theo James & Ansel Elgort


#28 Margot Robbie & Elizabeth Olsen


#29 Emma Watson & Lily Collins


#30 Scarlett Johansson & Taylor Swift


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The Californian music festival will also feature the Weeknd, David Byrne, Cardi B and dozens more pop and rap stars

Coachella, the two-weekend Californian event that traditionally kicks off the summers festival season, has announced the lineup for its 2018 edition.

Beyonc will headline on April 14 and 21, in her first live shows since her Formation world tour in 2016. The R&B star took 2017 off from live performance after giving birth to her twins Rumi and Sir, and the Coachella announcement will further fuel rumours she is gearing up to release new material.

The other two headliners are Eminem, performing in the wake of his comeback album Revival reaching No 1 in both the US and UK, and the Weeknd, who may also have new material incoming following his successful 2016 album Starboy.

Chart-dominating rappers such as Cardi B, Migos and Post Malone will also appear at Coachella, as will buzz bands Portugal. The Man, Haim and the War on Drugs; electronic acts include Odesza, Kygo and Jamiroquai. The lineup skews towards hipster-friendly contemporary artists, but there are some heritage acts in the form of David Byrne, Chic and Jean-Michel Jarre.

Coachella (@coachella)

January 3, 2018

Coachella, which began in 1999, has become one of the most successful US music festivals. Beloved by fashionistas and celebrities, it now attracts 250,000 people across its two weekends in the Indio valley near Palm Springs.

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Eminem’s ninth album Revival hit Spotify on Friday, and after more than 20 years and 100 million albums sold, he’s still rapping about kidnapping women and stuffing them in the trunk. Except this time it’s the president’s daughter.

“How the fuck is Ivanka Trump in the trunk of my car?” he goofs on “Framed,” a song about being framed for a murder that he doesn’t recall committing. It’s the twisted humor you expect from an angry man who copped to domestic violence on 2010’s “Love the Way You Lie.” But he sounds like a rapper who has lost his fastball.

Revival is not subtle, and the 19-song, hour-and-17-minute album covers lots of emotional headspace. On “Offended,” the 45-year-old artist born Marshall Mathers pushes back at the concerned activists who have attacked his violent, homophobic language for two decades. He still wants to make dirty jokes, but it feels conflicted now. “These drums and hard snares bring out the worst in me, like Justin Ross Harris at a nursery,” he raps about the Georgia dad whose son died after being left in a car seat for seven hours. It’s cringe-worthy. But later in the song, he has second thoughts about hanging out with women half his age and his back catalog of misogynist rap songs: “I made strides with these rape lines, I’m cutting back on women hate crimes.”

The new album comes amid the Trump age, and it boasts the sort of anti-establishment pushback Eminem’s been riffing on since the Clinton administration. But he’s also rapping in the time of #MeToo, and nine years sober, he shows remorse for the way he publicly attacked ex-wife Kim Mathers during his professional prime. “Remind Me” playfully recreates the star-crossed couple’s meet-cute, and “Bad Husband” is clear-eyed in its intent: “I’m sorry, Kim.”

It doesn’t stop there. “River” features acoustic bloke Ed Sheeran and details bad romance; the Pink-assisted “Need Me” tackles co-dependency; Skylar Grey shows up to fanfic Eminem’s demise at the hands of a man-eater on “Tragic Endings.” (“She gassed the car with lighter fluid. She’s standing there with a rag, about to put the lighter to it.”) Beyoncé, Alicia Keys, and Kehlani round out the guest list of strong women pop stars who sing hooks, while producer Rick Rubin runs Eminem on treadmills. He speeds up rock standards like Joan Jett’s “I Love Rock ‘N’ Roll” into beefy, noisy rap beats—a trick he’s been working since the golden era of the Beastie Boys and that he perfected on Jay-Z’s “99 Problems.”

Revival is an album of regret and repenting: “There’s nothing like holding your head up high when you’re dead inside,” Eminem admits on the Cranberries-sampling “In Your Head.”

These days Eminem is an old man, stewing in the tool shed with his radio. “I listen to pretty much everything that comes out,” the rapper admitted recently to Elton John. And while songs like “Believe” pick on younger rappers for being wack, Eminem appears to be trying to reconcile all the things that he’s done. “Castle” regrets how he handled being a father in the public eye, and the album-closing “Arose” recreates a December 2007 overdose that almost cost the rapper his life. “I’ve said your name but always tried to hide your face,” he half-apologizes to 21-year-old daughter Hailie Jade.

The pain and anger that made Eminem’s raps spellbinding peaked with 2002’s The Eminem Show. He’s re-emerged a cranky, repentant thinker who admits to being friendly with the neighbors of his gated community. In a year that made rich white men meditative about their past indiscretions, Eminem proves he’s no exception.

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Lose yourself and win a lawsuit.

Eminem has emerged victorious and his publishing company awarded $600,000 ($415,000 USD) after a judge ruled that New Zealand’s National Party used his track “Lose Yourself” in campaign ads without permission.

The lawsuit was filed in 2014, when the National Party used the song in ads for candidate Steven Joyce. A spokesperson for Eminem said at the time, “It is both disappointing and sadly ironic that the political party responsible for championing the rights of music publishers in New Zealand by the introduction of the three strikes copyright reforms should itself have so little regard for copyright.”

The National Party defended the track, which was unfortunately titled “Eminem Esque,” saying it originated with Australian producers. The hearing, which took place in May, even made it to Last Week Tonight, where John Oliver detailed the ridiculousness of a courtroom seriously analyzing the lyrics to “Lose Yourself.”

But Justice Helen Cull called the Eminem track a “highly original work,” citing “the guitar riff, the timbre, the strong hypnotic rhythm, and the recurring violin instrumentation and the piano figure.” She ruled that the National Party track “substantially” copied “Lose Yourself.”

H/T Rolling Stone

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The rapper has revealed that he relied on Elton Johns support while battling an addiction to painkillers

Eminem, while struggling with drug addiction and celebrity, found solace in an unexpected confidant, he revealed this week. The controversial rapper is “friends”, it seems, with Sir Elton John.

“Me and him have had similar lives and stuff,” Eminem explained in an interview with the Detroit Metro Times. “We became friends and I talk to him about things, career-wise.”

Em and El didn’t always seem so sympathetic, however. The artists’ first meeting, at the 2001 Grammy awards, was spoiled by allegations of Eminem’s homophobia. But flash forward eight years and Eminem calls Elton the musician he most looks to for support. “I talk to Elton a lot.”

The friendship became particularly important after the release of Eminem’s last album, Encore, and the rapper’s subsequent battle with drugs. Addicted to painkillers and after a near-fatal methadone overdose, Eminem rang up the man with the silly glasses who had himself attended rehab in 1990.

“When I first wanted to get sober, I called [Elton] and spoke to him about it,” Eminem said. “He’s somebody who’s in the business and can identify and relate to the lifestyle and how hectic things can be. He understands … the pressure and any other reasons that you want to come up with for doing drugs.”

“I reached out to him and told him, ‘Look, I’m going through a problem and I need your advice.'”

Elton’s advice seems to have worked as Eminem now says he has been clean for a year.

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Eminem is currently suing New Zealand’s National Party over a 2014 campaign ad that featureda beat reminiscent of his hit “Lose Yourself.” This is tremendous news for the internet, because it means there is now a video of an attorney entering the song into the official record by playing the song from a laptop as everyone in the courtroom sits, silent and unmoving, for the duration. So much for “the whole crowd goes so loud.”

It is frankly incrediblehow little the lawyer moves during theminute-and-a-half clip of Eminem’s bangingest banger. If the gentlemen in the front row hadn’t turned, you’d think the video had frozen. This is perhaps the most seriously anyone has ever taken the song that gave us “vomit on his sweater already, mom’s spaghetti.”

Vice’s Noisey blog declared this video “a masterpiece” that should be in the Tate Modern, and it’s hard to argue with that.

The trial came about after Eminem’s licensing people discovered the sound-alike track, which was cleverly titled“Eminem-esque.” In a National Party email releasedduring the trial, one party member asks, “Ifeveryone thinks it’s Eminem, and it’s listed as ‘Eminem-esque,’ how can we be confident that Eminem doesn’t say we’re ripping him off?”

They could not be confident of that at all, and now there is a lawsuit.

According toRolling Stone, the trial is expected to last one week. Along with the awkward listening party seen above, the court was also treated to a live performance of the “Lose Yourself” riff by producer and co-writer Jeff Bass.

H/T Noisey

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Hanson got Meryl Streep whitewater rafting, Eminem to act and brought James Ellroys cult novel LA Confidential brilliantly to life on film

Success came relatively late for Curtis Hanson: he had been working as a director in Hollywood for more than two decades before he hit a commercial home run with The Hand That Rocks the Cradle, released in 1992 and one of the creepiest of the late-80s/early-90s wave of domestic-peril thrillers that included Fatal Attraction and Single White Female. It starred Rebecca DeMornay as a nanny who torments a family while exacting a complicated revenge, and proved Hansons chops as an effective exponent of mainstream Hollywood style: meaty, thrilling and unashamedly populist.

It was this facility he brought to his best work, all of which was made in the following decade. It ranged from persuading Meryl Streep to negotiate whitewater rapids in The River Wild, or corralling Eminem through a semi-biographical account of a young rappers battle for glory in 8 Mile, and even the putatively dusty campus comedy drama Wonder Boys, where Michael Douglas complicated emotional life turns into a series of challenges to be overcome.

This, of course, also applies to LA Confidential, the film for which Hanson will be undoubtedly best remembered and one for which he won an Oscar for best adapted screenplay, along with Brian Helgeland (who went to direct Legend). I must confess to a prickle of apprehension when I heard that Hanson the River Wild guy had got the gig to direct one of the eras great cult crime novels, but in the event the director won everybody over by focusing with laser-beam intensity on the personal odysseys of the two main characters, played by Guy Pearce and Russell Crowe. Not only did this successfully Hollywoodise James Ellroys sprawling, gruesome book, but Hanson was also brave enough to launch the little-known actors into stellar careers of their own. It was a film that deserved its multiple Oscar nominations and in Kim Basinger, who won for best supporting actress, Hanson found something of a muse; he would cast her again as Eminems damaged, alcoholic mother in 8 Mile.

Muse … Kim Basinger in LA Confidential. Photograph: Allstar/WARNER BROS.

Hanson was schooled in the no-budget conveyor belt operated in the early 1970s by Roger Corman for whom he earned his first two significant feature credits, as a writer on The Dunwich Horror, and as writer-director on Sweet Kill and presumably there learned his economy of style and no-frills approach to narrative logic. Hanson hacked his way through the lower reaches of Hollywood in the 80s, though was perhaps unlucky to direct Losin It, the least successful of Tom Cruises contribution to the teen-movie wave. Only when he got aboard the yuppie-in-peril thriller Bad Influence in 1990 did Hansons luck begin to turn; it was a clear precursor/rehearsal for Cradle.

Having become Hollywood aristocracy on the back of LA Confidential, Hanson could afford to indulge himself to a certain extent: Wonder Boys was an unlikely follow-up, as was 8 Mile though with the latter, at least, Hanson could ally himself with an edgy, credible force in Eminem. In later decades, he might have found himself directing superhero movies, though he did manage some high-end TV: the HBO movie Too Big to Fail, about the 2008 financial crisis. If Hanson was a film-making chameleon, he undoubtedly showed himself to be a popular, savvy one.

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