Eminem Goes Nuclear on Trump At The BET Hip Hop Awards

The famous rapper Eminem delivered the video for “The Storm,” a four-and-a-half-minute freestyle, at the BET Hip Hop Awards. He wears a hoodie and scruff, pacing about theatrically in a parking lot and surrounded by an entourage of black men in the clip. Cyphers, in which opponents stand in a circle and trade verses, are usually peacocking competitions; here, his adversary is not physically present. The rapper stalls for a bit, wondering how he should start. “That’s an awfully hot coffee pot / Should I drop it on Donald Trump? Probably not. But that’s all I got ’til I come up with a solid plot.” Then he falls down what seems to be a stream of consciousness involving Trump’s recent scandals: “Instead of talking Puerto Rico or gun reform for Nevada / All these horrible tragedies and he’s bored and would rather / cause a Twitter storm with the Packers.” He alights on Trump’s habitual bigotry, calling a him “ninety-four-year-old racist grandpa” and mocking his proposed ban on immigrants. Before “The Storm” fades to black, Eminem declares, “We love our military and we love our country, but we fucking hate Trump.” The freestyle was manufactured to go viral, and it did. Colin Kaepernick, whom Eminem defends in the freestyle for his campaign against police brutality, thanked him, as did LeBron James, J. Cole, T. Pain, and a host of other prominent black celebrities. “After 27 years of doubts about rap I am now a fan,” the white commentator Keith Olbermann wrote on Twitter, punctuating the tweet with five clapping-hands emoji. “Best political writing of the year period.” This praise, amplified thousands of times online, was overblown. Even for Eminem, whose talent for conceptual density and accretive wordplay tends to come at the expense of musicianship, the structure of the freestyle was scattered. He repeated truths rather than inventing arrangements with which to communicate them. Were one to question Eminem about his recent contribution to protest music, I suspect he would acknowledge that his was neither the first nor the best takedown of Trump. Yet Eminem’s parachuting in had its own strange momentum, in which the spectrum of the white male ego was on full display and rap, a form born in opposition to white supremacy, was used to challenge it. The moment was touched with a distorted déjà vu. Nearly a generation ago, the rapper was the general of a raging culture war; in the Bush era, he competed with the Dixie Chicks to be Public Enemy No. 1 among pop artists. His act was so convincing that, in 2002, during a day of rehearsals for his Anger Management Tour, Zadie Smith was surprised to find that the rapper was quite timid. “Sweet. Lovely. Shy,” she wrote for a cover story in Vibe, echoing the observations of one of the rapper’s female associates. It is not that Smith expected Slim Shady, Eminem’s heretical, juvenile alter ego, with lyrics about ripping out Hillary Clinton’s “fucking tonsils” and gleefully dragging “a bitch by her hair,” to be real. Nor did his calm demeanor negate the artist’s essential darkness. Instead, it was the distance between the performer and the man, the freak and the father, the shit-stirrer and the consummate professional, that struck the novelist. “He’s like the Zen master who tells his disciple that enlightenment can be found in a pile of dog dung, and then shakes his head in dismay as the young man gets his hands dirty,” she wrote. At the time, four albums in, Eminem, born Marshall Mathers III, was carrying the mantle of premier hazardous artist. American parents and Congress were particularly concerned about his lyrics. In 2000, at a congressional hearing on the effects of violence in the media on the country’s children, Lynne Cheney accused Eminem of promoting violence against women. Music critics also pondered his vicious conceptual extravagance: what, exactly, was sophisticated about the video for “Cleanin’ Out My Closet,” in which he is shown digging a deep grave, presumably for his mother? Little evaded Eminem’s roving, acid censure. He continued to target women—including the mother of his daughter, Kimberly Anne Scott, the subject of the gruesome “Kim,” and Tipper Gore—as well as MTV, the Cheneys, gay men, and general politesse. “Stomp, push, shove, mush / fuck George Bush!” he spat, on “Mosh,” about the wars the President had started domestically and abroad. But Eminem also unsettled deeper fault lines. The son of a white single mother, he grew up in Detroit during the period when Reagan was launching his “welfare queen” campaign against single black women. Eminem’s mother, the rapper later said, had forced pills he did not need down his throat. (As he told Smith, “My experience with women has not been great, man.”) As the white middle class was squeezed by changing economic circumstances, the rapper’s family remained poor, left behind in the shadow of disappearing industry. His immersion in black Detroit, and, as he grew increasingly famous, his association with black men—Dr. Dre, 50 Cent, and the group he mentored, D12—dredged traditional fears to the surface. He was a vicious interlocutor, a disruptor of modern whiteness—as Hilton Als wrote in his critical essay “White Noise,” a “white boy not a white boy.” To read more controversial and useful news click here

Eminem's Social Media Presence

Eminem is also very active on social media like facebook, Instagram, twitter and youtube.Eminem has 21.5 million followers on twitter.He has 15.1M followers on Instagram. If want increase you instagram followers then you can buy Instagram followers from us.There 90 million people likes his facebook page. He has his own youtube channel also,His youtube channel name is "EminemMusic", there are 1.2 million subscribers on his youtube channel.
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